Folk Art (Fall 1999)

MAGAZINEXIFTHE MUSEUM OF AMERICAN FOLK ART *FALL 1999 * $6.00

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Statue of Liberty Anonymous, carved wood with polychrome and mixed media on canvas, in original frame, 501/4" x 371/2" x 4".

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529 WEST 20TH STREET THIRD FLOOR NEW YORK NY 10011 EL..,21.2/627-4819 FAX 212/627-5117 E-MAIL rmgal@aol.com WEB www.riccomaresca.corn ' , VitlaalYilYNIVIVPINNINWPAGIIIV4iP141210MAIViiiv4/3t

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STEVE MILLER • AMERICAN FOLK ART •

FIGUREHEAD OF HENRY COLT from owner's gig of the ship Richard Mitchell; Edgartown,MA;ca. 1850; 11" high.

Provenance: Kenneth Hammitt,Woodbury,CT;Col. Chas. West(USA Ret), Wilton, CT.

17 East 96th Street, New York, New York 10128(212)348-5219 Gallery hours are from 1:00 pm until 6:00 pm,Tuesday through Saturday.

Other hours are available by appointment.

CHELO GONZALEZ AMEICUA

Aburidance tlw Blimi, 1966, ink imatboard, 23.5- x 27

REPRESENTING THE ESTATE OF THE ARTIST SINCE 1988

CAVIN-MORRIS GALLERY 560 Broadway, Suite 405B New York, NY 10012 tel:(212)226-3768 fax:(212)226-0155 e-mail: mysteries@aol.com www.artnet.com/cavinmorris.html

JAMES CASTLE

1900-1977

Untitled. n.d.

Soot drawing on found paper 8" x 11"

Catalog of work released for 1999 with essay by Noriko Gamblin availablefor $17 J. Grist is the agent for the estate of James Castle (A.C. Wade, Castle Collection, L.P.).

CRIST

465 West Main Street Boise, Idaho 83702 phone 208.336.2671 fax 208.336.5615 web www.jcrist.com e-mail art@jcrist.com

WALTERS BENISEK ART S. ANTIQUES ONE AMBER LANE • NORTHAMPTON • MASSACHUSETTS • 01060 • • (4 1 3) 5 86 • 390 9 • • MARY BENISEK DON WALTERS •

• SCULPTURE BY GEORGE ROBERT LAWTON • RHODE ISLAND • C. 1860 • POLYCHROMED WOOD •

FOLK ART VOLUME 24, NUMBER 3/ FALL 1999

FEATURES

MILLENNIAL DREAMS: VISION AND PROPHECY IN AMERICAN FOLK ART Gerard C. Wertkin

38

EDWARD HICKS: ORNAMENTAL PAINTER Carolyn J. Weekley and Scott W. Nolley

46

THE VISIONARY DRAWINGS OF CHELO GONZALEZ AMEZCUA Jentfer P. Borum

53

Cover: Detail ofBASEBALL PLAYER: Samuel A. Robb(1851-1928), New York 3 4 City, 1888-1903, painted wood, 76 x21/ x213/4", Museum of American Folk Art, promised gift of Millie and Bill Gladstone

Folk Art is published four times a year by the Museum of American Folk Art, 555 West 57th Street, New York, NY 10019-2925, Tel. 212/977-7170, Fax 212/977-8134. Prior to Fall 1992, Volume 17, Number 3,Folk Art was published as The Clarion. Annual subscription rate for members is included in membership dues. Copies are mailed to all members.

Single copy $6.00. Published and copyright 1999 by the Museum of American Folk Art, 555 West 57th Street, New York, NY 10019-2925. The cover and contents of Folk Art are fully protected by copyright and may not be reproduced in any manner without written consent. Opinions expressed by contributors are not necessarily those of the Museum of American Folk Art. Unsolicited manuscripts or photographs should be accompanied by return postage. Folk Art assumes no responsibility for the loss or damage of such materials. Change of address: Please send both old and new addresses and allow five weeks for change. Advertising: Folk Art endeavors to accept advertisements only from advertisers whose reputation is recognized in the trade, but despite the care with which the advertising department screens photographs and texts submitted by its advertisers, it cannot guarantee the unquestionable authenticity of objects or quality of services advertised in its pages or offered for sale by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages.

The Museum is dedicated to the exhibition and interpretation of folk art and ills a violation of its principles to be involved in or to appear to be involved in the sale of works of art. For this reason, the Museum will not knowingly accept advertisements for Folk Art that illustrate or describe objects that have been exhibited at the Museum within one year of placing an advertisement.

DEPARTMENTS

EDITOR'S COLUMN

6

DIRECTOR'S LETTER

11

NEW BUILDING UPDATE

12

MINIATURES

18

GRAND SLAM ADDITION TO THE COLLECTION Stacy C. Hollander

25

LIPMAN FELLOWS PURCHASE FIELD PORTRAITS Stacy C. Hollander

28

FALL ANTIQUES SHOW BENEFIT PREVIEW

35

FALL ANTIQUES SHOW WALKING TOURS

36

TRUSTEES/DONORS

62

BOOKS OF INTEREST

63

MUSEUM WEB SITE

72

MUSEUM BENEFIT

73

MUSEUM REPRODUCTIONS PROGRAM

78

MUSEUM NEWS

82

FALL PROGRAMS

86

TRAVELING EXHIBITIONS

86

INDEX TO ADVERTISERS

88

FALL 1999 FOLK ART 5

EDITOR'S

COI IIMN

ROSEMARY GABRIEL

ike everyone else, we are gearing up for Y2K! Although the twentyfirst century and the millennium don't start until the year 2001, the whole of the western world seems to be obsessed with the magic moment when the calendar changes from 1999 to 2000. Millennial celebrations, advertising campaigns, prophecies—and warnings—are surfacing all around the globe, even as I write this column. It is clear that, as a society, we are emotionally convinced (mathematical tables be dtunned) that the year 2000 is the turn of the century and the start of the millennium. As an editor, this poses a real problem, but I've decided that we're playing it loose and allowing for two years of anticipation and celebration. So, what would be more fitting than the presentation this fall of"Millennial Dreams: Vision and Prophecy in American Folk Art"? Organized by the Museum's director, Gerard C. Wertkin, this exhibition traces the powerful tradition of America's vision and prophecy of the long-awaited millennium. Through seventy-five carefully selected objects, Wertkin offers us an unprecedented opportunity to examine the nation's significant millennial heritage as reflected in three centuries of American folk art. His essay gives us a glimpse of this important and historic exhibition.

Wertkin says,"Of all the images of peace and harmony in American folk art, perhaps my favorite is that of Edward Hicks, the Peaceable Kingdom, which embodies the millennial concept of America as a paradigm of a society without war, want, or inequality." Hicks is well known for his Peaceable Kingdom paintings. What is not so well known is that these works, according to Carolyn J. Weekley, director of museums at Colonial Williamsburg and curator of the traveling exhibition "The Kingdoms of Edward Hicks," "represented less than 5 percent of[Hicks] total work hours as a painter." Weekley and Williamsburg's associate conservator, Scott Nolley, have given us "Edward Hicks: Ornamental Painter," a most interesting essay that speaks of Hicks' many working years as a coach, sign, and ornamental painter.

As we approach the new century, we look at the work of religious and secular visionary artists, such as Edward Hicks, who have ARCHANGEL GABRIEL WEATHERVANE, artist unknown, pointed the way to a new millenUnited States, c. 1883, molded and soldered metal, nium. Jenifer P. Borum gives us a 27 127/. 61" long, Museum of American Folk Art, bequest of Laura Harding, 1995.12.09 clear look at another visionary— Mexican American artist Consuelo (Chelo) Gonzalez Amezcua, a Mexican immigrant who lived and worked in Del Rio, Texas. Gonzalez Amezcua was a "prolific self-taught artist who drew upon and celebrated both her bicultural heritage and her visionary creative process through an extensive oeuvre that included lyrical poetry, music, performance, stone carving, and a significant body of richly detailed, decorative pen-and-ink drawings. ..." Starting on page 53 and beautifully illustrated, Borum's riveting essay carefully examines the role of the visionary in our field and is a truly fascinating read.

L

FOLK ART Rosemary Gabriel Editor and Publisher Jeffrey Kibler, The Magazine Group,Inc. Design Tanya Heinrich Associate Editor Jocelyn Meinhardt Production Editor Loretta Mowat Copy Editor John Hood Advertising Sales Mel Novatt Advertising Sales Patrick H. Calkins Advertising Graphics Craftsmen Litho Printers MUSEUM OF AMERICAN FOLK ART Administration Gerard C. Wertkin Director Riccardo Salmona Deputy Director Stephen N. Roache Director ofFinance and Operations Susan Conlon Assistant to the Director Cecilia Popkowski Accountant Daniel Rodriguez Mailroom Beverly McCarthy Mail Order/Reception Collections & Exhibitions Stacy C. Hollander Senior Curator and Director ofExhibitions Brooke Davis Anderson Director and Curator of The Contemporary Center Ann-Marie Reilly Registrar Judith Gluck Steinberg Assistant Registrar/ Coordinator of Traveling Exhibitions Sandra Wong Assistant Registrar Dale Gregory Gallery Manager Gina Bianco Consulting Conservator Elizabeth V. Warren Consulting Curator Howard Lanser Consulting Exhibition Designer Kenneth R. Bing Security Departments Cheryl Aldridge Director ofDevelopment Beth Bergin Membership Director Marie S. DiManno Director ofMuseum Shops Susan Flamm Public Relations Director Alice J. Hoffman Director ofLicensing Joan D. Sandler Director ofEducation and Collaborative Programs Janey Fire Photographic Services Christopher Cappiello Membership Associate Jennifer Claire Scott Special Events Coordinator Mary C. Thomas Development Associate Kathy Maqsudi Membership Assistant Wendy Barreto Membership Clerk Edith C. Wise Consulting Librarian Eugene P. Sheehy Volunteer Librarian Rita Keckeissen Volunteer Librarian Katya Ullmann Library Assistant

Lee KoganDirector, Folk Art Institute/Curator ofSpecial Projects Ye* The Contemporary Center Madelaine Gill Administrative Assistant, Education Barbara W.Cate Educational Consultant Dr. Marilynn Karp Director, New York University Master's and Ph.D. Program in Folk Art Studies Dr. Judith Reiter Weissman Coordinator, New York University Program Arlene Hochman Docent Coordinator Linda Simon Associate Docent Coordinator Museum Shop Staff Managers: Dorothy Gargiulo, Caroline Hoheru-ath, Rita Pollitt, Suzanne Sypulski; Security: Bienvenido Medina; Volunteers: Marie Anderson, Olive Bates, Angela Clair, Sally Frank, Millie Gladstone, Nancy Mayer, Judy Rich, Frances Rojack,Phyllis Selnick, Lola Silvergleid, Maxine Spiegel, Marion Whitley Museum of American Folk Art Book and Gift Shop Two Lincoln Square(Columbus Avenue at 66th Street) New York, NY 10023-6214 212/496-2966

P.S. The archangel Gabriel plays an important role in millennial prophecy and makes for a fitting image for this issue's column. I am also rather partial to it for obvious reasons.

• FALL 1999 FOLK ART

Adminlistrative Offices Museum of American Folk Art 555 West 57th Street, New York, NY 10019-2925 212/977-7170,Fax 212/977-8134, http://www.folkartmuseum.org

AMERICAN PRIMITIVE GALLERY

AARNE ANTON 594 BROADWAY, #205 NEW YORK, NY 10012 PHONE:(212)966- 1530 FAX. (212) 343 - 0272 MON - SAT 11-6

VICTORY GARDEN FIGURES

To celebrate the end of VVVVII, a garden in Los Angeles was transformed with fountains, urns, and up to 20 life-size figures made by a gardener skilled in cement work This pair of figures survived the destruction of the environment. Heights: 44 and 35 inches, hollow ferro cement, with marble eyes and remains of paint, c. 1940's.

Z. B. ARMSTRONG

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THE LAROCHE COLLECTION 51 Pineview Road Bluffton, South Carolina 29910 phone 843-757-5826 fax 843-757-5628 available by appointment only

THE AMERICAN FOLK ART GALLERY

Indiudia, an .T.aulde, Jrnpottant YenadIftunnia Dutch Whittioig, c. 191C-192C

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at 374 Bleecker Street (between Perry & Charles) New York City, New York 10014 Phone: 212-366-6566 Fax: 212-366-6599 E-mail: amfogal@aol.eom American Folk Art, Wonderful Painted Furniture and Unusual Americana Including Sculpture, Fine Quilts, Textiles, And Architectural Elements.

Top Source For Collectors, Decorators, and Designers.

Hours: Monday - Sunday 11 a.m. - 7 p.m. and by appointment.

DIRECTOR'S

LET TER

GERARD C. WERTKIN

s a member of the Professional Advisory Committee of the Friends of Art and Preservation in Embassies(FAPE),I attended the group's annual meeting in Washington,D.C., several months ago.

During an eventful couple of days I had the opportunity to speak with President and Mrs. Clinton at the White House and to attend a dinner in the impressive diplomatic reception rooms of the Department of State. As enjoyable as the meeting was, it was all the more significant to me because of the respect paid to the field of American folk art.

FAPE brings major collectors, art historians, and the directors and curators of America's leading art museums together to encourage gifts of works of art for permanent placement in United States ambassadorial residences throughout the world. I am delighted that FAPE recognizes that folk art eloquently expresses the spirit of our nation. The Museum of American Folk Art has participated through the years in the Art in Embassies program; works from its collections have been installed in Rome, Vienna, and La Paz, among other places, generally for periods of two or three years. Iris gratifying to know that folk art is an important element in FAPE's planning as well.

Of course,just as FAPE is developing a collection to showcase American art abroad, so the Museum of American Folk Art is adding a wide variety of exceptional objects to its own permanent collection.

Through the generous contributions of The Jean Lipman Fellows, the Museum is now able to purchase works of art on a yearly basis. This year,following the annual meeting and dinner of The Jean Lipman Fellows in June, the Museum acquired two early and highly engaging portraits by Erastus Salisbury Field (1805-1900). My wannest thanks go to The Jean Lipman Fellows for making this significant purchase possible.

Other recent highlights in the development of the Museum's permanent collection include the purchase, with funds provided by Edie and Barry Brislcin, of a remarkable model of the EMPIRE STATE Empire State Building, constructed in BUILDING a technique similar to "crown of Artist unknown New York City thorns"; a powerful watercolor by the c. 1931 brilliant artist Henry Darger Interlocking shaped wooden sections (1892-1973)of Chicago, the gift of 94 • 30 30" Museum of American Folk Art, Sam and Betsey Farber; and Mildred purchase made possible through and William Gladstone's promised gift the generosity of the BriskIn Family Fund in honor of Frank Maresca, of an important baseball trade figure 1999.03.01

by Samuel A. Robb (formerly in the collection of the Whitney Museum of American Art), which is the subject of

an essay by Senior Curator Stacy C. Hollander in this issue of Folk Art. My heartfelt appreciation goes to each of these generous donors.

One of the joys of being director of the Museum of American Folk Art is the opportunity to meet with members and friends throughout the country. Often the enthusiasm expressed for the Museum's programs is overwhelming and leaves me feeling deeply grateful. Early this summer,for example, Stacy Hollander, Lee Kogan, Mary Thomas,and I were invited to spend a wonderful afternoon with David and Barbara Krashes at their home in central Massachusetts. Longtime and ardent supporters of the Museum and passionate collectors of the folk art of early New England, David and Barbara arranged for us to greet other Museum friends who live in their area. Not only did we enjoy the visual treat of the Krasheses' collection, but we were also able to tell the Museum story. It was exceptionally kind of our hosts to arrange this special day for us.

During the next year, as we take some giant steps in the direction of a new home for the Museum, members of the Museum's board and staff, Deputy Director Riccardo Sahnona, and I plan to crisscross the country as we speak to Museum members and seek their support for this vital undertaking. If you would like to host such an event in your own area, please telephone Riccardo Salmona or Mary Thomas, development associate, to arrange a date.

Late last year, the Museum lost a dedicated friend, Ellin Ente of Westport, Connecticut, who served with great enthusiasm as a docent and volunteer. One of my fond memories is of meeting Ellin for the first time, soon after Ijoined the Museum staff in 1980.

She was perched atop a tall ladder as she took installation shots of a Museum exhibition, and it was fun to watch her work with such obvious care and commitment. Photography was one of her great interests, and she gave generously of her time and talent to provide the Museum with a visual record of its programs. For many years, Ellin battled serious illness with strength and courage. She is remembered with respect and affection by all who had the privilege of working with her.

In memory of Ellin Ente, Helaine and Burton M Fendeltnan have generously initiated a fund to benefit educational programming at the museum.

Long-standing friends and supporters of the Museum themselves, Burt and Helaine have given a lead contribution, which has been matched by Citibank, in Ellin's memory. Thoughtful donations have also come from Phyllis Tepper and Myra and George Shaskan.

Others who remember Ellin are encouraged to participate in this memorial. Your contributions may be sent to the Museum of American Folk Art, Development Department,555 West 57th Street, New York, NY 10019-2925. Please telephone the Museum's director of development, Cheryl Aldridge, if you have any questions. Thank you warmly for your support.*

FALL 1999 FOLK ART 11

New York City Ploccos $2.5 \Rion to th VUSOUT1 of American Fok Art's 3uilcing Proj ct ucy C. Danziger,chair of the Museum's Capital Campaign, announced to the board of trustees that the Museum has been awarded $2.5 million from the city of New York to be used for a new museum and headquarters.

The new eight-level building will be located at 45 West 53rd Street, just west of The Museum of Modem Art. The Museum was notified of this exciting news upon the completion of the city budget negotiations in early June. These funds raise current pledges in excess of $20 million, or roughly two-thirds of the Museum's Capital Campaign goal.

Of the $2.5 million total appropriated to the Museum over the next two fiscal years, $1.5 million comes from the New

12 FALL 1999 FOLK ART

York City Council and $1 million comes from the mayor's office.

Anne Hill Blanchard, currently the trustee chair of the Education Committee, will take over responsibility for the next phase of the Capital Campaign as chair of Individual Gifts. Buoyed by their current success, Blanchard, Danziger, and the Capital Cam-

paign committee are now seeking broad-based public, corporate, and foundation support to complete the campaign over the next twelve months. Museum Director Gerard C. Werticin states,"In addition, the support of our very loyal membership will be vital in ensuring that we reach our goal.

Excitement over the critically

53rd Street View Tod Williams Billie Tsien and Associates

acclaimed building, designed

by New York architects Tod Williams Billie Tsien and Associates, is increasing as we near the ground breaking planned for this fall." —Riccardo Salmona, deputy director

Allegorical Relief Carving/ 19th Century/ 30"Hx1 9"Wx 4"D

rni 407 W. Brown Birmingham, MI 48009 248.540.9288

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Important Americana AUCTION IN NEW YORK: FRIDAY AND SATURDAY, OCTOBER 15 AND 16, 1999 AT 10:15 AM AND 2 PM

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EXHIBITIONS OPENS:

Sunday, October 10 at 1 pm INQUIRIES

American Folk Art Nancy Druckman or Lauren Bresnan 212.606.7225 fax 212.606.7038

Fine and rare watercolor Fraktur Vorschrift Booklet, made for Sussana Eyer by Johann Adam Eyer, Northampton County, Pennsylvania, dated 1810.

Three fine and rare watercolor Fraktur Bookplates, Johann Adam Eyer, Northampton County, Pennsylvania, dated 1808.

CATALOGUES

INC. 1999 WILLIAM F. RUPRECHT, PRINCIPAL AUCTIO

800.444.3709 outside the continental U.S. 203.847.0465 fax 203.849.0223

Auction estimate: $25,000-35,000

SOTHEBY'S 1334 York Avenue

New York, NY 10021 www.sothebys.com

SOTHEBY'S

Allan & Penny Katz

By Appointment •

Allegorical Figure of Flora or Sprin Probably New York City Ca. 1875. 60" high Untouched original surface

Old Still Road Woodbridge, CT 06525 (203) 393-9356

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AMERICAN FOLK ART Christie's next sale of American Folk Art

New York, October 14, 1999

Inquiries

A silk-on-linen needlework sampler signed by Catharine Congdon (6.1758) Newport, dated 1773 Sold at Christie's on June 16, 1999 for $28,750.

Christie's zo Rockefeller Plaza New York, New York loozo 212 636 2000

Susan Kleckner at 212 636 2230 Catalogues

800 395 6300 www.christies.com

CHRISTIE'S

ANTIQUES, INC_ Patrick Bell / Edwin HiId 6465 Route 202, New Hope, PA 18938 phone: 215-862-5055 fax: 215-862-0550 e-mail: oldehope@aoLcom Portrait of a Lady—Artist unknown. Prob. New York State, c. 1825. Oil on Panel, 28 x 23 inches.

Exhibited: The Whitney Museum of Art, M.H. DeYoung Memorial Museum, San Francisco Montclair Art Museum, Montclair, New Jersey Hirsch! & Adler Galleries, New York Illustrated: Ebert, American Folk Painters, Pg. 93.

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7.5

MINIATURES CENTER MEDALLION CHINTZ QUILT, maker unknown, probably midAtlantic United States, 1830-1850, pieced and quilted chintz with woven tape binding, 101 x 102, collection of Sara and Byron Dillow

1 COMPILED BY TANYA HEINRICH

Bucks County as Hicks County The Mercer Museum (215/3450210)and the James A. Michener Art Museum (215/340-9800), both in Doylestown, Bucks County,Pa., will mount four separate exhibitions relating to Edward Hicks as a counterpart to the traveling exhibition "The Kingdoms of Edward Hicks," which will be on view at the Philadelphia Museum of Art(215/763-8100) from Oct. 10,1999,to Jan. 2, 2000(see p. 52).

Edward Hicks was a lifelong resident of Bucks County. Three exhibitions at the Mercer, collectively titled "Edward Hicks Country," will spotlight Bucks County's history and culture, particularly its Quaker traditions and their impact on the artist. "Signs of the Times: The Trade Sign Tradition in Folk Art" (9/25/99-6/30/00) will explore the range of the 19thcentury sign painter's craft and thus provide a more expansive look at Hicks' chosen trade. Among the highlights will be a signboard attributed to Hicks. Also on view will be "Penn's Treaty in

Art and Artifact"(9/25/991/7/00) and "Bucks County's Quaker Meetinghouses" (9/25/99-6/30/00).

The James A. Michener Art Museum will present"An Edward Hicks Sampler"(9/25/99-1/2/00), a small but diverse exhibition of Hicks' paintings tracing the development of the artist's work; it will include a portrait of the artist by his cousin Thomas Hicks.

TRADE SIGN FOR THE RED LION INN, artist unknown, Bensalem Township, Bucks County, Pennsylvania, 1825-1850, wood, paint, iron, and gilt, 67a/1 >< 59 x 2/ 3 4", Mercer Museum, Doylestown, Pennsylvania, gift of Frederick K. Yeagle, 24399

Chintz Quilts in Kentucky The Museum of the American Quilter's Society (502/442-8856) in Paducah, Ky., is presenting "Glorious Chintz: Early 19th Century Quilts from the Sara and Byron Dillow Collection" through Oct. 23. The exhibition showcases more than 30 quilts LEHNWARE SEED CHEST, Joseph Lehn (1798-1892), vicinity of Clay, Elizabeth Township, Lancaster County, Pennsylvania, late 19th century, painted wood with white porcelain knobs and floral decals, 25/ 3 4 r 223 / 46 5/ 1 2", The Heritage Center Museum

featuring appliquéd cut-out elements of finely printed fabric, such as floral and bird designs, on a plain, usually white, background. Chintz quilts and pieced scrap quilts are considered among the earliest varieties of patchwork quilts.

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Wisconsin Natives and Transplants The John Michael Kohler Arts Center(JMICAC)(920/458-6144) in Sheboygan, Wis., is presenting "Hmong Works: Selections from the Permanent Collection" through December. Wisconsin is home to a large population of Hmong, who came to the United States as refugees after the Vietnam War. The traditional arts of this nomadic Southeast Asian people are a manifestation of their continued unity and link to their "cultural home." On view will be jewelry, musical instruments, baskets, weaponry, cloth-

18 FALL 1999 FOLK ART

ing, and ceremonial costumes— which feature the intricate Hmong vocabulary of color and form using appliqué, reverse appliqué, embroidery, and batik.

"Our Wisconsin Home: Selections from JMKAC's Permanent Self-Taught Collection" is an ongoing exhibition of rotating installations highlighting five Wisconsin self-taught artists— Nick Englebert, Mary Nohl, Frank Oebser, Fred Smith, and Eugene Von Bruenchenhein— each of whom used their homes as a stage for their talents.

Lancaster County Mennonites The Heritage Center Museum (717/299-6440)in Lancaster, Pa., is presenting "Lancaster County Mennonites: Their Traditional Arts," with objects deriving primarily from private collections, through Dec. 30. The traditional arts of the Mennonites, one of the largest Anabaptist communities to have settled in Pennsylvania from Germany and Switzerland, number some of the most elabo-

rate and decorative items associated with the Pennsylvania Germans. Organized by curator Clark E. Hess, the exhibition will include more than 70 works, including sulphur-inlaid furniture, ornate needlework and quilts, wrought iron, two tall case clocks

by Samuel C. Stauffer(17571825), and fraktur by Christian Strenge(1757-1828)and Christian Alsdorff(c. 1760-1838).

Stephen W. Anderson

JAVANESE PRINCESS Gouache, Prismacolor, 24"x 35," 1998.

dean Jensen

gallery

759 N Water St. • Milwaukee, WI 53202 (414) 278-7100 • djart@execpc.com

GREY CARTER Objects of Art Featuring self-taught artists, including:

_6 0

John Holly The Union of Adam and Eye 10" X 14", Mixed media on paper

John Holly Madame Butterfly I, 19" X 24", Pastel on paper

Harold Crowell Victor Joseph Gatto John Holly Paul Lancaster Malcolm McKesson Mark Casey Milestone Justin McCarthy Ricky Needham Joe Polinski Jack Savitsky Lorenzo Scott Brooks Yeomans ...and many more

McLean, Virginia • By appointment •(703) 734-0533 • gcarter@pressroom.com • www.greyart.com

FALL 1999 FOLK ART 19

ghe

MANHATTAN ART & ANTIQUES CENTER Largest

The Nation's and Finest Antiques Center.

Over 100 galleries offering Period Furniture, Jewelry, Silver, Paintings, Americana, Orientalia, Africana and other Objets d'Art. 1050 SECOND AVENUE(AT 55TH ST.) NEW YORK, N.Y. 10022 PRESENTS

MINIA

TURES

Folk Art Conferences Sept. 23 to 25—Historical Society of Early American Decoration (315/548-9390) semiannual convention/exhibition, Holiday Inn, Batavia, N.Y. On view: original decorated tinware, reverse glass paintings, and American country painted pieces. The public is welcome, and admission is free on Thursday, Sept. 23, 4:00-11:00 P.M.; Friday, Sept.

24,9:00 A.m.-11:00 P.M.; and Saturday, Sept. 25, 9:00 A.m.-12:00 P.M. Oct.7 to 10—Folk Art Society of America(804/285-4532) 12th annual conference, Kentucky. Program: tours of exhibitions at the Kentucky Folk Art Center in Morehead and Transylvania University in Lexington; a symposium on Kentucky folk art and folk music; a tour of Shaker Village in Pleasant Hill, featuring a concert of Shaker music and a lecture

by Gerard C. Wertkin; an auction; film and video screenings; visits to private collections; and more than 30 exhibiting folk artists.

Oct. 22 and 23-1999 Winterthur (800/448-3883) Conference, Winterthur, Del.,"The Visual Culture of American Religions."

Program: 15 speakers will consider how religious artifacts and images can illuminate the significant religious dimension of American life past and present.

Oct. 23—"Fakes and Frauds: Contemporary Artisans Speak Out," Wilton Historical Society (203/762-7257), Wilton, Conn. Program: lectures and demonstrations designed to illuminate the differences between period pieces and newly made objects that find their way onto the antiques marketplace, with presentations by potters Greg Shooner and Don Carpentier, among others.

"COCKSCOMB 6' BIRDS" applique quilt with eagles, peacocks, and swallows, trapunto quilting- a unique folky example from an exemplary group of 19th century red and green "show" quilts.

LAURA FISHER ANTIQUE QUILTS& AMERICANA Gallery #84 New York City's largest, most exciting selection of Antique Quilts,

Hooked Rugs, Coverlets, Paisley Shawls, Beacon Blankets, Vintage Accessories and American Folk Art.

• Laura Fisher: Tel: 212-838-2596 Monday-Saturday 11AM-6PM The Manhattan Art&Antiques Center:

Tel: 212-355-4400 • Fax: 212-355-4403 www.glenwoodmanagement.com/maac Open Daily 10:30-6, Sun. 12-6 Convenient Parking • Open to the Public

20 FALL 1999 FOLK ART

Nov.5 to 7—Historic Deerfield (413/774-5581) 1999 Antiques Forum, Deerfield, Mass. Program: the link between self-improvement and the pursuit of refinement in 18th-century rural America will be explored with lectures, tours, and workshops, along with meals and lodging at the 1884 Deerfield Inn.

Sandpaper Drawings in New York "Darkness Like a Dream: Nineteenth-Century Sandpaper Drawings from the Collections of Randall and Tanya Holton and Matt Mullican and Valerie Smith" will be on view at The Drawing Center (212/219-2166) in New York City from Sept. 10 to Oct. 14. Sandpaper drawings, also known as marble dust draw-

ings, were created not on sandpaper but rather a panel covered with shimmering marble dust.

The use of charcoal allowed artists to create a range of light and dark effects similar to the popular prints on which they were frequently based.

JONATHAN LERMAN

Major Collection of Edmondson's Work on View in New Orleans "At God's Command: William Edmondson Sculpture," an extended temporary loan exhibition culled from the holdings of the Cheekwood Museum of Art in Nashville, is on view at the New Orleans Museum of Art(504/4882631). Edmondson procured large blocks of limestone in the 1930s and 1940s from demolished buildings and street-paving projects in his Nashville neighborhood and carved elegant animals,figures— many inspired by his deep religious faith—and functional objects such as birdbaths,flowerpots, and garden ornaments.

SCHOOL TEACHER William Edmondson Nashville c. 1930-1940 Limestone 141 / 2x 5/ 1 2x 7/ 1 2" Collection of the Cheekvvood Museum of Art

Mr. Imagination Memory Wall An exhibition of the work of Chicago artist Mr.Imagination (Gregory Warmack)is on view at the Southeastern Center for Contemporary Art(SECCA)(336/7251904)in Winston-Salem, N.C., through Sept. 29."Artist and the Community: Mr.Imagination" is the ninth project in SECCA's ongoing program of artist residencies and exhibitions, a program designed to bring together visiting artists with residents for the creation of art focusing on issues critical to the community. Objects on

view include bottle-cap figures, chairs, thrones, carved relief sandstone sculptures, broom heads, brush figures, totems, and staffs.

The exhibition is accompanied by a memory wall—a concrete structure encrusted with discarded items and objects of personal significance, such as broken jewelry, marbles, bottle caps, and broken tile—that was created by Mr. Imagination in June at the Winston-Salem Transit Authority Transportation Center with the assistance of community members.

Jonathan Lerman 1.1987 Untitled 1999, pastel on paper, 17X 14 inches

DRAWINGS OCTOBER 1999

website: www.jonathanlerman.com Extraordinary American Furniture "Masterpieces of American Furniture" is on view at the MunsonWilliams-Proctor Institute (315/797-0000)in Utica, N.Y., through Oct. 31. The exhibition is the first comprehensive analysis of American furniture in the

museum's extensive collection and examines 65 stylistically diverse pieces invoking the extraordinary breadth and quality of 19th-century American craftsmanship. The exhibition is accompanied by a fully illustrated catalog.

K.S. Art 73 LEONARD STREET NY NY 10013 212 219 9918

FALL 1999 FOLK ART 21

CLEMENTINE

HUNTER 1

8

8

6

1

9

8

8

James Harold Jennings 1931-1999 James Harold Jennings, a selftaught artist known for his lively, painted wood constructions and signs, died of a self-inflicted gunshot wound inside his small trailer in Pinnacle, N.C., on April 20.

The artist lived on a tobacco farm that he inherited from his mother in 1973. He chose to vacate the farmhouse on his property and took up an unconventional residence in several school buses he moved onto the land.

Jennings began to make whirligigs, windmills, signs, and painted constructions soon after his

mother's death. His colorful works often portray powerful women and the sun, moon,and stars. He first achieved recognition in the 1980s following his first exhibition,"Southern Visionary Folk Artists"(1985), at the Sawtooth Building in Winston-Salem, N.C. Since then, his work has been exhibited in many galleries and exhibitions.

Jennings is survived by a brother, Clyde, and his wife, Normie, of King, N.C.; a niece, and a nephew.

—Lee Kogan

Rev. John L. Hunter 1905-1999 This Sort of Thing is Called a Lazy Swing, c. 1940

14 x 11

Oil on Paper.

Collection Includes: David Butler Minnie Evans Howard Finster Louden J.B. Murray Sarah Rakes Royal Robertson

Nellie Mae Rowe Welmon Sharlhorne Herbert Singleton Jim Sudduth Myrtice West Willie White And others.

Rev. John L. Hunter, a woodcarver and preacher from Dallas, died June 28 at the age of 94. Born on March 17, 1905,in Taylor, Tex., Hunter was raised by his grandparents in Dallas and was especially close to and inspired by his grandfather, who built churches.

In 1936, after several years of working at a drugstore, Hunter became a preacher. He pastored various Baptist churches in Texas for 61 years. In the late 1960s he began to make small polychromed woodcarvings and assemblages of animals, figures, and vehicles for members of his congregation. He would imbue the simplicity of the

natural wood form with lively movement and happy gestures, often by inverting a forked branch to form animated legs.

Hunter's work is included in the permanent collection of the African American Museum in Dallas and has been exhibited extensively in numerous traveling exhibitions. He is survived by his wife, Ruby; a son and daughter-inlaw, Rev. Wardell and Ola Hunter; four granddaughters; seven greatgrandchildren; and one great-greatgrandson.

—Julie Webb

Paul Patton 1921-1999

GILLEY 1

GALLMY R

A

MES EST.1978

8750 Florida Blvd. Baton Rouge, LA 70815 www.eateLnetb-outsider 225.922.9225

22 FALL 1999 FOLK ART

Paul Patton, a memory painter from Ohio, died of emphysema and congestive heart failure on January 6. Patton began to paint in 1985 after he retired from his job as an elementary school principal in Bedford. His paintings depict scenes from his early life in the small town of Rix Mills in south central Ohio.

The impetus to paint was in response to serious disruptions to

the natural landscape resulting from the introduction of strip mining in the area. He is survived by his wife, Dorothy Abbott Patton, and two daughters, Susan Patton-Fox, of San Francisco, and Wendy Patton Garrity, of Columbus, Ohio.

—Lee Kogan

CHELO AMEZCUA

Artist Malcolm McKesson died in New York City on February 5 of complications from a stroke he experienced in December 1998.

McKesson was born into a well-to-do family, but his perception of family life, punctuated by the premature deaths of an older brother and an older sister, was colored by sad memories. He graduated from Harvard University in 1933,served as an M.P. with the Army Air Corps during World War II, and in 1942 married a poet, Madeline Mason, who was also from a socially prominent family. He was employed, with little success, at a variety of jobs until the 1960s, when his wife became responsible for his support. During the ensuing years until her death in 1990, he devoted his time to art-making and to his marriage; his work was discovered in 1994.

McKesson made thousands of drawings and approximately 100 paintings. There are more than 2,000 drawings in his Matriarchy series—intricate, gestural pen-and-ink drawings of shadowy,fleshy figures—for which he is best known. He also completed a self-revealing, illustrated, fictionalized autobiography based on these works entitled Matriarchy: Freedom in Bondage (New York: Heck Editions, 1997). Representing an inner struggle to understand himself, the book explored themes of transvestitism, bondage, and love.

McKesson is survived by a nephew,John McKesson,and a niece, Ann Stein.

—Lee Kogan

Itesy Robert Manley

Malcolm McKesson 1909-1999

Dwight Mackintosh 1906-1999 Dwight Mackintosh died on March 27 of natural causes. He was recognized for his complex line drawings of people, vehicles, animals, and buildings—usually punctuated by highly personalized cryptic text—executed in pencil, felt-tip marker,chalk, and tempera paint.

Few biographical details of the artist exist. He was born in Hayward, Calif., where he lived with his parents and younger brother, Earl, until the age of 16, when he was institutionalized for mental retardation. After 56 years at variparticipant for more than 20 years. ous facilities, he was released in The artist's work has been exhib1978 as part of a widespread ited throughout the United States national trend toward the deinstiand in Europe. tutionalization of the mentally ill.

—Lee Kogan Shortly thereafter, Mackintosh's art-making began to flourish at the Creative Growth Art Center in Oakland, Calif., where he was a

Musa Alada, 1967, 32x20", ink on paper

WEBB GALLERY 209-211 W.FRANKLIN WAXAHACHIE,TEXAS 75165 972.938.8085 • FAX 972.938.8472 http://rampages.onrampnet/—webbart/

FALL 1999 FOLK ART 23

4104V? ' kâ&#x20AC;˘S gel A:

, 4

.11,

Portrait of a young girl in a blue dress attributed to Sturdevant Hamblin c.1840, 10"x14"

DAVID

WHEATCROFT

220 East Main Street, Westborough, Massachusets 01581 508-366-1723

Crard S a Add't t e Co ect C

BASEBALL PLAYER Samuel A. Robb (1851-1928) New York City 1888-1903 Painted wood 3 4 x 21/4" 76 21/ Promised gift of Millie and Bill Gladstone

arved trade figures are among the most popular forms of traditional American folk sculpture; Samuel A. Robb is one of the best-known New York City trade figure carvers; and baseball is the game just about everybody loves. Bat the three home together and you have a grand slam addition to the permanent collection of the Museum of American Folk Art. Baseball Player is a promised gift to the Museum from patrons William and Mildred Gladstone, but it was part of the collection of the Whitney Museum of American Art for more than twenty years. When the Whitney redefined its collecting mission to focus on twentiethcentury works, it began a process of deaccessioning artworks that did not fit within that parameter. One of the artworks in this category was an outstanding figure of a baseball player that was gifted to the Left to right: Millie and Bill Gladstone, Director Whitney from the Gerard C. Wertkin, renowned collection and Trustee Ralph 0.

Esmerian signing the of Carl W. Haffenref- agreement fer. The Whitney's director, Maxwell L. Anderson, recognized that the remarkable figureâ&#x20AC;&#x201D;which . retains its original paint, hardware, and standâ&#x20AC;&#x201D;should remain in a public venue, and he began a dialogue with Gerard C. Wertkin, director of the Museum of American Folk Art. The Gladstones generously stepped up to the plate, and a partnership was formed.

Samuel A. Robb carved Baseball Player in New York City sometime between 1888 and 1903, the years that he occupied his workshop at 114 Centre Street. The unusually well preserved figure stands on its original base with Robb's name and address incised on the front. At this point, it is not known whether the figure represents a generic "type," as do many show figures, or a particular player of the period. Baseball had gone "pro" in 1869, with the formation of the first salaried team, the Cincinnati Red Stocking Club. By the time this figure was carved, many considered the sport to be in its golden age. Baseball was by now a national passion, and this pas-

(Th

to

By Stacy C. Hollander

sion was reflected in the growing demand for baseball player show figures.

Robb is known to have carved several baseball players in his workshop. By 1886, baseball players were so numerous that one reporter commented, "Dudes' are just now a drug in the market, as they have been lately supplanted by 'baseball players." The players' popularity notwithstanding, the same author acknowledged, "Ten Indian figures to one fancy [as the non-Indian figures were called] is the proportion in which they are sold." In 1890, a partial inventory of Robb's shop was included in a New York Times article about cigar-shop signs. The reporter, Frank W. Weitenkampf, noted "the counterfeit presentment of Boston's shining light, John L. Sullivan, in his baseball suit." However, contemporary photographs and baseball cards depicting Sullivan do not bear a resemblance to the Museum's new acquisition. Despite its visual similarity to

Museum staff members (from left to right) Riccardo Salmona, Cheryl Aldridge, Ann-Marie Reilly, laney Fire, Christopher Cappiello, Stacy C. Hollander, and Lee Hogan cheering with delight at the promised gift

many a mustachioed late-nineteenth-century player, the identity of Baseball Player remains unknown, and readers are welcome to write to the Museum's curatorial department with suggestions.

Tobacco figures in the form of a baseball player speak to an association that goes beyond the familiar sight of chewing tobacco in the dugout. In fact, part of the celebrity status already attained by individual ballplayers and teams during the late nineteenth century was engendered by the marketing of collectible cards illustrated with lithographs and, later, photographs. Not surprisingly, these early cards were produced mostly by tobacco companies, such as Old Judge, which printed one of the largest series of cards from 1887 to 1890, with photographs of players from forty major and minor teams.

Because of its condition, it is unlikely that the Museum's Baseball Player spent its working life outdoors.

But whether it stood inside or outside or touted sporting goods or tobacco, one thing is certain: This baseball player always hits home runs.*

FALL 1999 FOLK ART 25

American Folk Art Sidney Gecker

Three Children From a Baltimore Family CIRCA 1815- 1820 ARTIST UNKNOWN OIL ON CANVAS 34" x 28"

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

CHARLES W. HUTSON 1840 1936 OTHER WORKS BY CHARLES HUTSON

LOUIS SMITH

"PAPPY" KITCHENS

MARY T. SMITH

GERTRUDE MORGAN

WILLIE WHITE The Garden in April, Abstract Series, 18" x 24", 1936

WILLIAM PELTIER • FINE AND FOLK ART 376 Millaudon St. • New Orleans, LA 70118 • By Appointment tel: (504) 861-3196 • fax: (504) 862-7403 e-mail: wpeltier@aol.com • web site: http://www.peltierart.com

26 FALL 1999 FOLK ART

TRACY GOODNOW ART Si. ANTIQUES

576 SHEFFIELD PLAIN ROAD(ROUTE 7) SHEFFIELD MASS 01257 TEL 413.229.6045

Eagle/Phoenix, Massachusetts, late 18th - early 19th century, vigorously carved wood with weathered paint, 35"h x 12"w x 34"d

THE

JEAN

LIPMAN

FELLOWS

BY STACY C. HOLLANDER

Lipman Fellows Purchase TABLE RUG Artist unknown Probably New Hampshire c. 1820 Wool embroidered and appliquĂŠd on wool 36 x 34/ 1 2 " Courtesy America Hurrah, New York

BED RUG Attributed to Packard family member; inscribed "BNP" Jericho, Vermont Dated 1806 Wool on wool foundation 96 x 90" Courtesy America Hurrah, New York

PORTRAIT OF A WOMAN PORTRAIT OF A MAN Erastus Salisbury Field 11805-19001 Massachusetts c. 1836-1838 Oil on canvas 30 x26 Museum of American Folk Art purchase with funds from The Jean Lipman Fellows, 1999 Courtesy Hirsch! & Adler Galleries, Inc., New York

n June 16,the Museum of American Folk Art celebrated the third annual meeting of The Jean Lipman Fellows, the acquisitions support group organized in honor of a great friend of the Museum and a renowned collector, the late Jean Lipman. Several superb works of art were offered for the Fellows' consideration: two protraits by Erastus Salisbury Field, a c. 1820 table rug and 1806 bed rug, which were offered as one lot, Portrait ofa Young Boy and His Dog,by George C. Hartwell, and Untitled(Tunnel with Cars), by Martin Ramirez.

The Museum would like to recognize them and emphasize that each would be a significant addition to the permanent collection.

0

28 FALL 1999 FOLK ART

This year's purchase was the pair of lovely and delicate Field portraits. Although the sitters are unidentified, the visual similarities in their treatment,from their clear gazes to the set of their figures, suggest that they may be a husband and wife. The pink-cheeked faces, the man's pale yellow vest, and the woman's ruffle-edged muslin emerge brilliantly from the muted brown ground.

The artist was the subject of a major exhibition organized by the late Mary Black in 1984, which was presented concurrently at the Museum of American Folk Art and The Metropolitan Museum of Art. The portraits are typical of the period Black judged to be Field's most successful,from the mid-1830s until the mid-1840s, which is characterized by carefully delineated faces, attention to

details of costume and jewelry, and atmospheric backgrounds that highlight the faces. This visual device may be traced to Field's brief apprenticeship in the New York City studio of Samuel F.B. Morse in 1824, which was cut short by the premature death of Morse's wife. In 1838, about the period that these portraits were painted, Field was charging $4 for a half-length portrait, according to a receipt in the collection of the Abby Aldrich Rockefeller Folk Art Center. The portraits join Field's Portrait ofa Miller, a gift to the Museum in honor of Howard and Jean Lipman, as well as the artist's paint box, the individual drawers of which are still stained with various colors.

In 1825, Field returned to Leverett, Massachusetts, and

began a pattern of patronship among relatives and friends that was to continue throughout western Massachusetts, Connecticut, eastern New York, and Vermont.

Although he married in 1831 and had a daughter one year later, he continued traveling, as far south as Hartford, New Haven,and New Canaan, Connecticut. In 1836, Field was working in Lee and Egremont, Massachusetts, in the Berkshires, where the Museum's Portrait ofa Miller was painted. As is apparent from this spare and powerful portrait as well as the Museum's new acquisition, Field was influenced

by Ammi Phillips during this period, especially in the poses of male subjects with their arms slung boldly across the chair backs. In 1841 Field returned to New York City, where he lived

he third annual meeting of The Jean Lipman Fellows was not only a tremendous success for the Museum but an educational and social occasion as well. Organized by co-chairs Frank Maresca and Roger Ricco of Ricco/Maresca Gallery and collectors Jerry and Susan Lauren, the evening began with a visit to the collection of Claude and Alvan Bisnoff—a traditional folk art collection featuring mechanical banks; theorems; portraits by Zedekiah Belknap, John 1999 Co-chairs (left to right): Brewster, and Frank Maresca, Susan and Jerry Lauren, Ammi Phillips; a seascape by and Roger Ricco Thomas Chambers; and a house portrait by Fritz G. Vogt.

The group then gathered at the Museum for refreshments of champagne, cocktails, and a sumptuous array of hors d'oeuvres as well as the formal presentation of works nominated for selection, given by Stacy C. Hollander, senior curator. Following the informative program and two enthusiastic Museum of American Folk Art Trustees present rounds of voting, The Jean at The Jean Lipman Fellows event (top row, left Lipman Fellows concluded to right): L. John Wilkerson, Cyril I. Nelson, Barry D. Briskin; (middle row, left to right): Anne Hill the evening with an extraordiBlanchard, Ralph 0. Esmerian, loan M. Johnson, nary dinner in the Rohatyn Jacqueline Fowler, Nancy Mead;(bottom row, left Room at Carnegie Hall. to right): Kristina Johnson Esq., Samuel Farber, Frances Sirota Martinson Esq., Lucy C. Danziger, Guests were treated to a disJulie K. Palley play of the Laurens' beautiful spongeware pitchers—generously on loan for the occasion—filled with gorgeous bunches of wildflowers and used as the centerpieces. The evening's door prize, inscribed copies of The Pieced Quilt: An American Design Tradition by Jonathan Holstein and Amerii II can Self-Taught by Roger Ricco and Frank Maresca, was won by Pepi Jelinek. The Museum wishes to recognize the outstanding quality of all of the works presented for consideration by The Jean Lipman Fellows, and to thank the following for their participaton in this evening: Hirschl & Adler Galleries, Inc.,Phyllis Kind Gallery, and America Hurrah.

T

Field Portraits

PORTRAIT OF A YOUNG BOY AND HIS DOG Attributed to George G. Hartwell (1815-1901) Probably Maine or Massachusetts c. 1835-1845 Oil on canvas 27 x 22" Courtesy America Hurrah, New York

in Greenwich Village, first on Carmine Street and later on Bank Street. He is listed in the city directories as a portrait painter until 1843, when he is listed simply as an artist, about the same time that he introduced landscape painting into his repertoire.

Field may also have learned the new art of taking daguerreotypes during his second New York sojourn. After his return to New England, he began using daguerreotypes as the basis for painted portraits, sometimes creating composite compositions from several photographic sources. In 1859,Field's wife, Phebe, died, and he moved with his daughter to Plumtrees, near Leverett. It was here that Field built a painting studio and started the series of religious and historical paintings that were to be his

UNTITLED (Tunnel with Cars) Martin Ramirez (1895-1963) Auburn, California c. 1954 Pencil, colored pencil, and crayon on paper 51 x 24" Courtesy Phyllis Kind Gallery, New York

major preoccupation for his z remaining years. A staunch abolitionist, his biblical paintings of the Hebrews fleeing slavery in Egypt were undoubtedly intended to resonate with his objection to the institution of slavery in the United States. In 1888, Field completed The Historical Monument ofthe American Republic, an allegorical representation of major chapters and figures in American history, with an emphasis on the Civil War. Shortly before his death in 1900 at the age of ninety-five, Field was remembered as the oldest citizen of Franklin County and an "all-around painter of the old school.... his likenesses of people of past generations are as nearly comet as can well be made in oil"(Mary Black,Erastus Salisbury Field: 1805-1900,57).*

1999 lean Lipman Fellows (members listed on page 66)

FALL 1999 FOLK ART 29

THE

AMES

VISIONS OF THE FUTURE

GALLERY 16112;3

RIZZOLI & MALDONADO

Alex A. Maldonado Maldonado Planet — 2Suns —4.3Light years from Earth, 1987, 12"x 16,oil on canvas

See us at

18th Annual San frdIlliSCO Fall Antiques Show October 28 — 31, 1999 Fort Mason, San Francisco, CA Preview Wednesday, October 27

A.G. Rizzoli The YTTEPlot Plan — Fourth Preliminmy Study, 1938,381/4• x 24 IA", ink on rag paper

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Bonnie Grossman, Director • 2661 Cedar Street, Berkeley, California 94708•Telephone 510/845-4949•Fax 510/845-6219

JIM WORK

THE PARDEE COLLECTION MIDWESTERN FOLK & OUTSIDER ART PO BOX 2926,IOWA CITY,IA 52244 SHERRY PARDEE • 319-337-2500

Ginger Young Gallery Southern Self-Taught Art By appointment 919.932.6003 Works by more than four dozen artists, including: Rudolph Bostic • Raymond Coins • Howard Finster Sybil Gibson • Willie links • M. C. Jones • Joe Light • R. A. Miller Reginald Mitchell • Sarah Rakes • Royal Robertson • J. P. Scott Lorenzo Scott • Earl Simmons • James "Buddy" Snipes Jimmie Lee Sudduth • Mose Tolliver • John Henry Toney Myrtice West • Willie White • Purvis Young • tramp art

For a free catalogue and price list, please contact: Ginger Young Gallery, 5802 Brisbane Drive Chapel Hill, NC 27514 Phone/Fax 919.932.6003 • E-mail: gingerart@aol.com Website: www.gingeryoung.com

Web-footed decorated jewelry box from North Carolina with hand-carved legend inside, 61/4"H x 13W, 101/4 13, 1908

This piece is pictured on page 105 of Tramp Art: One Notch at a Time by Clifford Wallach and Michael Cornish (Wallach-Irons, Publishers, 1998)

FALL 1999 FOLK ART 31

CONTEMPORARY FOLK ART BRUCE

SHELTON

KATHY MOSES,GALLERY DIRECTOR

SHELTON GALLERY STANFORD SQUARE / 4239 HARDING ROAD NASHVILLE, TN 37205 (615) 298-9935/(615) 298-9419 FAX E-MAIL: sheltongal@aol.com www.sheltongallery.com Kathy Moses' new hard cover book, Outsider Art ofthe South, is a must-have for collectors---34 self-taught artists, 2 folk art environments, 1 museum. 414 color and 12 b/w photographs, reference guide. Foreword by John Rice Irwin & introduction by Lee Kogan. ISBN: 0-7643-0729-0. $59.95 + shipping through Shelton Gallery, local book sellers, or Schiffer Publishing, Ltd., 4880 Lower Valley Rd., Atglen, PA 19310 tel: 610-593-1777, fax: 593-2002.

MINNIE ADKINS LINVEL BARKER JERRY BROWN THORNTON DIAL CHRIS DONNELLY ROY FERDINAND HOWARD FINSTER HOMER GREEN HELEN LAFRANCE TIM LEWIS JESSE MITCHELL BRAXTON PONDER Dow PUGH

A Schiffer Reference Book for Collectors

Visit us also at Highlands Fine Art & Estate Jewelry, P.O. Box 1447, 388 Main St., Highlands, NC 28741,(828) 526-0656

ROYAL ROBERTSON MARIE ROGERS SULTON ROGERS HERBERT SINGLETON JIMMY LEE SUDDUTH MOSE TOLLIVER TROY WEBB BOBBY WILLIFORD AND OTHERS

Mr-r4Wfv ‘L A. prior' ALA....#ArAw Gallery Barbara Brogdon 1611 Hwy. 129 S. Cleveland, GA 30528 (706) 865-6345 FAX (706) 219-3112 email: rosehips@stc.net www.rosehipsart.com

"Keeping an Eye on Baby Sister" 18-x24" Georgia artist —Barbara Wikle

32 FALL 1999 FOLK ART

TUCKER STATION ANTIQUES

516611161ti I

llit0411411.1,1140

These rugs will be exhibited at The Fall Antiques Show at the Park Avenue Armory, NYC,November 18 - 21.

Country and High Country Furniture, Folk Art, and Decorative Accessories JASON DIXON AND LARRY TUCKER (614 HATHERLEIGH LANE I LOUISVILLE, KENTUCKY 40222 C PH 502-426-6355 email: tuckerstation@ka.net

110114, 1111112

HOOKED RUGS

Rt

OON

QUILTS

SAMPLERS

FOLK ART

WEATHERVANES

Antiques

REEK

GEORGE R. ALLEN • GORDON L. WYCKOFF

efframigroji,_;

20 MAIN ST., BOX 132, BRIDGEPORT, NJ 08014 HOURS: FRIDAY THRU SUNDAY: NOON UNTIL 5PM (609) 467-3197 • APPOINTMENTS ALSO WELCOME

eakTEMPIPIMA

miewiwann

•

NEW JERSEY CIVIL WAR NEEDLEWORK; DEPICTING TWO CIVIL WAR SOLDIERS, TWO 34 STARRED AMERICAN FLAGS, AND THE BANNER,"THE UNION FOREVER." (CA. 1863), 27 1/2 X 32 INCHES.

SLIPWARE

BASKETS

PAINT DECORATED FURNITURE

12TH ANNI IAL CONFERENCE OF THE FOLK ART SOCIETY OF AMERICA* OCTOBER 7-9 1999

The Folk Art and Folk Music of Kentucky

For Information Call 800-527-3655 Banjo Player, by Noah Kinney. Photograph by Jason Gibson, courtesy Hackley Gallery

34 FALL 1999 FOLK ART

1999 Fall ANTIQUES Show

MUSEUM OF AMERICAN FOLK ART 1999 FALL ANTICtVES SHOW BENEFIT PREVIEW PARK AVENUE ARMORY WEDNESDAY, NOVEMBER 17 6:00-9:00 P.M.

STEAM FIRE ENGINE WEATHERVANE Harris & Co. Boston, Massachusetts C. 1875-1890 Copper and zinc with traces of gilding 30 x 62" Museum of American Folk Art, gift of Ralph Esmerian, 1995.24.01

he 1999 Benefit Preview Chairs Ellie Cullman and Kathleen Doyle are planning an exciting evening celebrating the last Fall Antiques Show of the century. Following the tremendous success of last year's anniversary celebration, the 1999 Fall Antiques Show is certain to be a highlight on New York City's cultural calendar. An accent of the festivities will be a special Museum exhibition,"Millennial Dreams," presented with the generous support ofFireman's Fund Insurance Company and Country Living magazine,that will complement the Museum's concurrent exhibition on display at its Eva and Morris Feld Gallery,"Millennial Dreams: Vision and Prophecy in American Folk Art." On view for the duration of the show at the Armory,"Millennial Dreams" will look at America's millennial heritage over three centuries,featuring diverse objects from weathervanes to twentieth-century visionary art.

The 1999 Fall Antiques Show Benefit Preview honors Paul J.

T

LaPerriere, executive vice president of Fireman's Fund Insurance Company. Not only did Fireman's Fund support last year's twentieth-anniversary celebration, but the company is on board again this year as a Corporate Benefactor and the lead corporate funder of"Millennial Dreams: Vision and Prophecy in American Folk Art." Joining Fireman's Fund as a Corporate Benefactor for the event is Country Living magazine, a longtime supporter of the Benefit Preview and a generous friend of the Museum. Special thanks to William Doyle Galleries for designing and printing the festive and exciting invitation featuring Steam Fire Engine Weathervane.

Fall Antiques Show Education Chairs Vera Jelinek and Julie Palley have once again organized "In the Company of Experts," guided walking tours of the show, on the mornings of Thursday, Friday, and Saturday, November 18-20. For more information on the walking tours see the following page.

All proceeds from the benefit help to support the Museum's educational programs, exhibitions, and publications. Benefit Preview ticket prices are as follows: Benefactor tickets are $1,000($925 is tax-deductible); Patron tickets are $500($440 is tax-deductible); Supporter tickets are $200($140 is taxdeductible); and Americus tickets, specially priced for juniors thirty-five years and younger, are $100($40 is tax-deductible).

A new, special benefit for Corporate Benefactors is the Benefactor's Preview of the show beginning at 5:30 P.M. on the evening of the preview. For those purchasing Americus tickets, a special guided walking tour of the show will be given on Friday evening, November 19. For more information or to make reservations for the Benefit Preview on Wednesday evening, November 17, please contact Jennifer Scott at the Museum's administrative offices (212/977-7170 ext.

308) or at specialevents@ folkartmuseum.org.*

1999 FALL ANTIQUES SHOW BENEFIT PREVIEW Honorary Chair Paul J. LaPerriere Benefit Chairs Ellie Cullman Kathleen M.Doyle Benefit Co-Chairs Kristina & Harry Davison Nathalie Gerschel Kaplan Advisory Chairs Marian A. Bott Lucy Cullman Danziger Wendy Lehman Lash Nancy Mead Junior Chairs Alexis Contos Trisch Garthoeffner Lisa Prince Shorter

FALL 1999 FOLK ART 33

1999 Fall ANTIQUES Show WALKING TOURS The Museum of American Folk Art presents IN THE COMPANY OF EXPERTS Guided walking tours of the Fall Antiques Show by leading experts in the field Park Avenue Armory Park Avenue and 67th Street New York City Ticket includes continental breakfast and entry to the show Museum members: $25.00 Nonmembers: $35.00 Thursday, November 18, and Friday, November 19 10:30 A.M.(tour begins at 11:00 A.M.; ShOW floor opens at 12:00 P.M.) Saturday, November 20 9:30 A.M.(tour begins at 10:00 A.M.; show floor opens at 11:00 A.M.)

Overview of American Folk Art Paul d'Ambrosio, curator/director ofexhibitions andfolk art, New York State Historical Association, Cooperstown, New York

Folk Portraiture Nancy Druckman,senior vice president/director ofthe Americanfolk art department, Sotheby's

Leigh Keno,American antiques dealer/regular participant, PBS's Antiques Roadshow

Textiles: Quilts, Rugs,and Other Objects Lee Kogan, director, Folk Art Institute/curator ofspecial projects, The Contemporary Center, Museum of American Folk Art

Susan Kleckner, vice president, Americanfurniture,folk art, and decorative arts department, Christie's Inc. Folk Painting Stacy C. Hollander, senior curator/director ofexhibitions, Museum of American Folk Art

Folk Art Basics Friday, November 19 6:30 P.M. As a special benefit for juniors, included in the cost of the Junior Benefit Preview ticket is a guided walking tour. Led by Lee Kogan, the tour will be a fun and informal introduction to the world of American folk art and antiques and an opportunity to meet some of the dealers at the show.

Judith Weissman,coordinator, graduate program infolk art studies, New York University The Decorator's Perspective Ellie Cullman, Cullman & Kravis

Elizabeth V. Warren, consulting curator, Museum of American Folk Art

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An American checkerboard depicting a caricature of Zachary Taylor on the reverse side. 14" x 14" c. 1849-50

P.O. Box 23 â&#x20AC;˘ Alexandria, Virginia 22313 â&#x20AC;˘ (703)329-8612

36 FALL 1999 FOLK ART

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Sanford Smith's 21st Annual

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AMERICA HURRAH ANTIQUES AMERICAN FOLK ART GALLERY AMERICAN PRIMITIVE GALLERY MARNA ANDERSON T.J. ANTORINO ANTIQUES AUGUSTUS ANTIQUES KATHRYN W. BERENSON A BIRD IN HAND THE COOLEY GALLERY WM. A. CYR JR. DARWIN ANTIQUES DECO DELUXE COLETTE DONOVAN RICHARD & EILEEN DUBROW JOEL J. EINHORN M. FINKEL & DAUGHTER RUFUS FOSHEE ANTIQUES SIDNEY GECKER GEMINI ANTIQUES GEORGE D. GLAZER RUSS & KAREN GOLDBERGER PEG & JUDD GREGORY CARL HAMMER HELLER WASHAM ANTIQUES SAMUEL HERRUP CAROL & STEPHEN HUBER HILL GALLERY KATY KANE ANTIQUE CLOTHING ALLAN KATZ AMERICANA KELTER-MALCE KEMBLE'S ANTIQUES JAMES M. KILVINGTON GREG K. KRAMER LYONS LTD. H. P. McLANE JUDITH & JAMES MILNE THURSTON NICHOLS NORTH STAR G. A. ORLEY & SHABAHANG THE PHILADELPHIA PRINT SHOP FRANK & BARBARA POLLACK RACCOON CREEK ANTIQUES CHRISTOPHER T. REBOLLO RICCO/MARESCA GALLERY STEPHEN SCORE JOHN SIDELI/ MELISSA GREENE SMITH GALLERY ELLIOTT & GRACE SNYDER GEORGE & DEBBIE SPIECKER R. E. STEELE ANTIQUES LINDA & HOWARD STEIN PHILIP SUVAL JEFFREY TILLOU TUCKER STATION ANTIQUES CLIFFORD WALLACH ED WEISSMAN NANCY WELLS WITH ALL DUE CEREMONY ELIZABETH WOJCIK ANTIQUES SHELLY ZEGART

FALL ANTIQUES SHOWatthe Armory

NOVEMBER 18-21 THURSDAY St FRIDAY NOON-9PM SATURDAY 11AM-7PM • SUNDAY NOON-6PM

PREVIEW NOVEMBER 17 6Pm-9pm To Benefit the Museum of American Folk Art Information & Reservations: 212.977.7170

MORNING WALKING TOURS Sponsored by the Museum of American Folk Art • 212-977-7170

THE PARK AVENUE ARMORY Park Avenue 8t 67th Street, New York City

AMERICANA • COUNTRY & FORMAL FURNITURE TOYS • FOLK ART • TEXTILES • QUILTS FINE ART • GARDEN DESIGN • MARINE ART PAINTINGS • POTTERY • SAMPLERS

Museum ofAmerican Folk Art Benefit Preview Generously sponsored by COUNTRY LIVING magazine and Fireman's Fund Insurance Company

SANFORD L. SMITH & ASSOCIATES 68 East 7th Street New York, NY 10003-8499 212.777.5218 Fax: 212.477.6490 info@sanfordsmith.com

ARCHANGEL GABRIEL WEATHERVANE Artist unknown United States c. 1840 Painted sheet metal 35 x 32½>< 1/ 1 4" Museum of American Folk Art, gift of Mrs. Adele Earnest, 1963.01.01

38 FALL 1999 FOLK ART

,

Vision and Pro ohecy in American Folk Art

By Gerard C. Wertkin

ery early in my life, my mother observed that I would live to see the millennium. She spoke those words to me more than fifty years ago at a birthday party or other family event, but they remain fixed in my memory to this day, perhaps because I detected a hint of awe and wonderment in her voice.

The very idea of a year 2000 seemed strange and remote to my youthful imagination.

FALL 1999 FOLK ART 39

FATHER TIME Artist unknown Mohawk Valley, New York c. 1910 Carved and polychromed wood, metal, and hair 52/ 1 2 137/c 14/ 1 2" Museum of American Folk Art, gift of Mrs. John H. Heminway, 1964.02.01

If I became aware of the approach of the millennium as a sixor seven-year-old child, it was only much later, some thirty years ago, as a visitor to the Sabbathday Lake Shaker Village in New Gloucester, Maine, that I began to consider the significance of millennial ideas in American thought. As a student of Shaker life and art, I was almost inevitably led to do so. Millennial references are commonplace in Shaker literature, folk narrative, drawings, and songs, and one of the names that the Shakers have in fact traditionally used to refer to their religious community is the Millennial Church.

There is a deeply rooted millennial heritage in American history and culture that is by no means unique to the Shakers. In simple terms, it is based on an understanding of history as the unfolding of a divine plan, the culmination of which will be the triumph of good over evil. Although it is grounded in biblical prophecy, this legacy has manifested itself in secular as well as sacred settings from the first strivings for American independence through the era of the Civil War and even beyond.

The American Revolution was seen as a harbinger of the millennium.

"The conviction that history was drawing to its glorious conclusion, when the world would be transformed into a paradise for the righteous, predisposed large numbers of American Protestants to throw themselves behind the revolutionary cause,"

40 FALL 1999 FOLK ART

observed Ruth H. Bloch in a provocative study of millennial themes in early American thought, "with a fervency that is otherwise hard to explain." A song from the first published Shaker hymnal, Millennial Praises, captures the popular sentiment that the War of Independence was divinely ordained: Rights of conscience in these days, Now demand our solemn praise; Here we see what God has done, By his servant Washington, Who with wisdom was endow'd By an angel, through the cloud, And led forth, in Wisdom's plan, To secure the rights of man.2 Millennial ideas fueled abolitionism in the nineteenth century and the struggle for civil rights in the twentieth. Throughout American history, social reformers and utopian socialists have sought to create ideal communities under millennial banners. Thomas Paine captured the urgency and optimistic spirit that characterized early American millennial thought: "We have it in our power to begin the world over again. .. . the birthday of a new world is at hand."

Detail of GRAVESTONE OF MR. HENRY ROBY Carved by an unidentified Boston carver Copps Hill Burying Ground Boston, Massachusetts 1807 Slate 3V high Photographed by Daniel Farber, 1979 Photo, Museum of American Folk Art, gift of Daniel and Jessie Lie Farber, LR 1987.02.50

A CHRONOLOGICAL CHART OF THE VISIONS OF DANIEL AND JOHN Published by J.V. Nimes, B.W. Thayer & Co., Lithography Boston, Massachusetts c. 1842 Ink and watercolor on linen 50 34" Private collection

BIBLE QUILT Harriet Powers Athens, Georgia 1895-1898 Dyed and printed cotton fabrics pieced and appliqued on cotton 69 x 105" Museum of Fine Arts, Boston, M. and M. Herolik Collection

Surprisingly, however, there has been little acknowledgment of this diverse heritage in the public discourse of the late 1990s.

Although the new millennium will not begin until January 1, 2001, the more immediate advent of 2000 has sparked a heightened sense of millennial anticipation. Time is a powerful idea; it measures our days and regulates our comings and goings. It is not surprising that a striking change in the calendar should arrest our attention, especially when that change is accompanied by fears of technological breakdown and environmental collapse. In this context, a consideration of America's millennial heritage seems especially appropriate.

Because folk artists so often have been keen observers and eloquent recorders of American life, their work offers a remarkably rich and varied visual resource for an examination of these ideas.

According to the dictionary definition, a millennium, in the most general meaning of the term, is any span of one thousand years. It was in this sense, of course, that my mother referred to the millennium so many years ago. Although she surely anticipated great change in the second half of the twentieth century and the

period beyond, she was speaking only of the calendar. But the term carries other, more specific and powerful meanings: a long-awaited period of peace, harmony, and justice; a messianic age; and the end of time itself.

The concept of the coming of the Messiah and the messianic age is to be found throughout the prophetic books of the Hebrew Bible, but the fixing of the thousand-year period derives from the final book of the New Testament, the Book of Revelation (also known as the Apocalypse), and especially from chapter 20, verses 1-3, of that collection of the strange but beautiful visions of John of Patmos: And I saw an angel come down from Heaven...[a]nd he laid hold on the dragon, that old serpent, who is the Devil and Satan, and bound him a thousand years,... that he should deceive the nations no more, till the thousand years should be fulfilled.

According to the divine plan outlined in Revelation, Christ is to come again and establish the kingdom

of God on earth, after which the Last Judgment is to occur. While secularists and religious liberals have understood this divine plan metaphorically, it remains a cardinal principle of orthodox Christian belief. There have been differences among Christians, however, in the interpretation of this complicated end-time scenario, some ("premillennialists") holding that the millennium will begin only after Christ's Second Coming, with others ("postmillennialists") believing that Christ will return after the thousandyear period. Postmillennialists emphasize the necessity of human aspiration and effort to the attainment of the kingdom of God, and are often supporters of progressive measures for social and economic reform. Premillennialists, on the other hand, expect the kingdom of God to come in a great cataclysm, and may interpret natural disasters or social upheaval as portents of the millennium.

It should be noted that these two interpretive approaches are not mutually exclusive in every respect, nor do they represent the only ways in which the millennium may be understood. During the course of American history, both approaches, and variations of them, have been important, but it is the overarching theme of the millennium itself that has captured the popular imagination. Indeed, Ruth Alden Doan has observed that through the Puritan fathers, millennial thought "became the foundation of cultural orthodoxy in America... . The tying of divine providence and its consum-

FALL 1999 FOLK ART 41

Vision anc proonecy in American Folk Art On view at the Museum of American Folk Art November 13, 1999—May 14, 2000 he Museum of American Folk Art is proud to present"Millennial Dreams: Vision and Prophecy in American Folk Art," an exhibition organized by the Museum's director, Gerard C. Wertkin.

Throughout American history,folk artists have given expression to vision and prophecy, often in relation to the long-awaited millennium. The exhibition traces this powerful tradition—in both its spiritual and secular manifestations— through seventy-five carefully selected, often unexpected objects from the Museum's permanent holdings, public institutions, and private collections, including many that are rarely exhibited.

While some American prophets and artists have looked to the skies for signs of apocalypse and have included messages such as "Repent

42 FALL 1999 FOLK ART

now before it is too late" in their writings and art, others have created diverse and exuberant visions of the New Jerusalem and a heaven on earth. Through works as diverse as Shaker spirit drawings, illustrated Adventist charts, a Chicano festival banner, New Mexican santos, and twentieth-century visionary paintings, this exhibition will shed new light on the centrality of millennial thought in American culture.

As the year 2000 approaches,"Millennial Dreams" provides an unprecedented opportunity to examine the nation's significant— and often unacknowledged—millennial heritage as reflected in three centuries of American folk art.

Gerard C. Wertkin, who has been with the Museum for nearly twenty years and has served as director since

1991, is the author of The Four Seasons of Shaker Life: An Intimate Portrait ofthe Community at Sabbathday Lake, Maine. Dr. Randall Balmar,the Ann Whitney Olin Professor of American Religion and the chair of the department of religion at Barnard College, serves as exhibition consultant.

The exhibition catalog,"Millennial Dreams: Vision and Prophecy in American Folk Art," will be available at the Museum of American Folk Art Book and Gift Shop,2 Lincoln Square, Columbus Avenue at 66th Street, New York City, in November.For information, please call 212/496-2966.

The exhibition is presented with the generous support of Fireman's Fund Insurance Company.

mation in millennial glory to the experience of the New World reinforced the power of millennial dreams always inherent in Christianity. Through trials of social, cultural, and political change, the assumptions of the peculiar place of America within the divine plan, and of the special importance of the impending millennium to the American experience, were not cast off, but deepened."3 Paul Boyer, the author of an influential study of millennial thought in contemporary America, has observed that "through much of American history, especially until the Civil War, the conviction that God had assigned a special role to America exerted a powerful appeal.

The New England Puritans in their more hopeful moods, and eighteenthcentury churchmen such as [Jonathan] Edwards, envisioned that role as mainly spiritual: through prayer, piety, and evangelism, New World believers would help bring about universal revival and Christ's millennial reign.' Just after the signing of the Declaration of Independence, Timothy Dwight not only imagined that the fulfillment of millennial hopes would occur in America, but speculated that the period would begin about the year 2000!5 In a 1783 sermon,"The United States Elevated to Glory and Honor," Ezra Stiles described America as the chosen nation of God, "blessed with millennial holiness, virtue, prosperity and empire."6 In the spare but telling iconography of New England's Puritan founders, the prevalence of millennial thought in American life may be seen in the choice of representations of the archangel Gabriel, trumpet in hand, to adorn weathervanes on the steeples of their churches. In the Bible, Gabriel serves as God's messenger; he has a role in millennial prophecy as well, appearing twice to Daniel and interpreting his vision of the end-times (Dan. 8:16, 9:21).

Christian tradition extends Gabriel's role to that of herald of the Second Coming, and he is often portrayed in that role in art and literature. New England gravestone carvers of the seventeenth and eighteenth centuries were well aware of this tradition

TREE OF LIGHT OR BLAZING TREE Hannah Cohoon Hancock, Massachusetts 1845 Watercolor with graphite underdrawing, pen and ink on paper 1 2 " 16 20/ Museum of American Folk Art, promised anonymous gift, P2.1997.01

when they carved clarion angels on gravestones to emphasize the belief that the resurrection of the dead would occur at the time of the Last Judgment.

Even when the figure of the archangel Gabriel appears in secular settings in early America—in architectural ornaments or shop signs, for example— there is little doubt that his role as a herald of future tidings has been widely recognized.

As revelatory agents, interpreters of dreams, and instruments of divine judgment, angels are given a

holding a sword and scales, the vanquished devil at his feet.

The connection between time and belief is an essential aspect of millennial thinking, the millennium itself being a time-based concept. For the Puritans and their spiritual heirs, time was an expression both of the here and now and of eternity. Thus, it is not surprising that in Puritan gravestone imagery, time and death are often linked. Father Time, a bearded, aged figure, is shown holding the traditional hourglass and scythe; he seems either

significant place in prophetic writings of a millennial character, especially in the Book of Revelation with its seven trumpeting angels and other angelic figures. The archangel Michael, a great warrior, and his angelic forces cast Satan out of heaven (Rev. 12:7-9). By tradition, Michael will hold the scales of justice at the Last Judgment, weighing the good and evil in human souls. Thus, in iconographic representations of Michael in the retablos and bultos (religious folk paintings and carvings) of northern New Mexico, as well as in the folk art of other Roman Catholic traditions in the United States, he is often depicted

to be measuring the years dispassionately or contending actively against death. As Dicicran and Ann Tashjian have observed, Father Time was an ambiguous figure for the Puritans: "If the passage of time were emphasized, then Father Time might well be man's adversary, hastening him to his death; but representing eternity, the figure would oppose mortal death and transport the deceased to heaven rather than leave him at the grave."'

The Bible itself is not specific as to when the events described in Revelation will begin. Indeed, Jesus counseled his disciples against attempting to calculate the precise

time: "But of that day and that hour knoweth no man.. . . Take ye heed, watch and pray: for ye know not when the time is"(Mark 13:32-33). Despite that warning, students of biblical prophecy, serious scholars and dreamers alike, have looked to the skies for signs of apocalypse, associating unusual natural occurrences, especially phenomena of a dramatic character—comets, meteor showers, solar halos, and hailstorms—with the coming millennium. Some of the most colorful language of the Book of Revelation relates to the frightening power of nature. Folk artists have given tangible expression to these signs and portents in a wide variety of media, sometimes accompanied by urgent calls for repentance. Perhaps the most important of these representations is the great appliqued Bible quilt made by Harriet Powers (1837-1911) of Athens, Georgia. In this compelling work of art, Powers revealingly combined symbolic illustrations of a series of Bible narratives with references to several nearlegendary natural occurrences. These included the famous "Dark Day" of 1780, when the skies from eastern New York State all the way to coastal New England remained dark all day, apparently the result of forest fires and a weather inversion, fueling widespread millennial speculation.

Of all the efforts to calculate the time of the millennium, perhaps the strangest was that of William Miller (1782-1849), a farmer turned preacher from Low Hampton, New York, a village near the Vermont border. An intensive study of the prophecies contained in the Books of Daniel and Revelation convinced Miller that the millennium would commence in 1843 or 1844, and he gathered a substantial following in the northeast and elsewhere in the country through tent meetings and the circulation of a surprisingly large body of prophetic literature. In 1842, two of Miller's followers, Charles Fitch and Apollos Hale, prepared a chart, which was painted on linen panels, outlining the calculation of the Second Coming in graphic detail; they exhibited their work at a conference of Millerites, and it was deemed so successful that they unanimously resolved to have three hundred of the charts printed. From

FALL 1999 FOLK ART 43

then on, Millerite preachers carried a copy of the chart with them, using it as a visual aid to help audiences understand the complex biblical chronology. Versions of the chart were published in the periodicals of the Millerite movement as well, and provided an iconographic resource for attempts by others to outline the timing of the millennium.

The critical press of the day was contemptuous of William Miller and his followers. Stories of Milletites wearing long white "ascension robes" and climbing to high places "to meet the Lord in the air" were frequently told. Although they may have been apocryphal, these tales supported the popular idea that the thousands of believers in Miller's prophetic calculations were wild-eyed fanatics, among whom many were afflicted with mental illness. Although the "Great Disappointment" that followed the failure of the Second Coming to occur as calculated left some adherents dazed and demoralized, many others were ardent participants in the reform movements of the day,including abolitionism. Out of Millerism came several Adventist denominations, which remain part of the American religious terrain to this day, including fringe groups like the Branch Davidians of Waco,Texas.

At least some of the disappointed drifted from Millerism to a religious community that believed the millennium to be in progress and the Second Coming to already have occurred. The Shakers, known more formally as the United Society of Believers in Christ's Second Appearing, traced their beginnings to small gatherings of believers in Lancashire, England, during the mid-eighteenth century, some of whom under Mother Ann Lee (1736-1784)came to America in 1774. Acquiring their more common name from early ecstatic worship forms, the Shakers practice celibacy and community of property.

According to Shaker belief, divine revelation is not confined to the pages of the Bible, but was an ongoing process through four successive dispensations, as God worked through history. In the words of the first published Shaker statement of belief, "The fourth dispensation or day is the second appearance of Christ, or final, or last display of God's grace to a lost

44 FALL 1999 FOLK ART

world, in which the mystery of God will be finished and a decisive work, to the final salvation, or damnation of all the children of men."8 Through their reading of the Books of Daniel and Revelation, the Shakers calculated the beginning of the millennium as having occurred in 1747.

From the late 1830s through the 1840s and beyond, at the very time of the Millerite excitement, the Shakers experienced a period of great spiritual intensity, when the doors of heaven appeared open to them. During this time, called by the Shakers "the Era of Mother's Work," the Believers the New Jerusalem in a contemporary became especially receptive to vision urban setting. James Hampton used and prophecy, producing a body of cast-off furniture covered with foil "gift" songs and drawings among to create an assemblage representing thousands of prophetic messages. The the throne of God as described in songs are soulful and affecting, the Revelation. drawings among the most beautiful Of all the images of peace and representations of millennial ideas in harmony in American folk art, perAmerican art. haps my favorite is that of Edward The Shakers were also practical Hicks, the Peaceable Kingdom, which community builders, with a genius for embodies the millennial concept of innovation and design. During the late America as a paradigm of a society eighteenth and early nineteenth cen- without war, want, or inequality. turies, they formed communities in Hicks, of course, was a member of the New York, New England, Ohio, Ken- Religious Society of Friends. As a tucky, and Indiana, which were often Quaker, he was especially aware of magnets to the utopian socialists of the the promise of peace. The Peaceable day, who saw in these neat, productive Kingdom was a compelling image to villages models for a radical reshaping him precisely because it represented of society. The followers of Robert that promise, although peace did not Owen and Charles Fourier, among always prevail in the fractious Reliother utopians, formed ideal commu- gious Society of his time. Hicks nities throughout the United States on returned to the subject time and again; the conviction that a perfect society more than sixty renditions of the could be created in the present time. image survive. It is telling that he Although most such attempts ended illustrated not only biblical prophecy in failure, several were successful ("The wolf also shall dwell with the and long-lived. As a response to the lamb, and the leopard shall lie down millennial impulse in American with the kid; and the calf and life, sectarian and secular experi- the young lion and the fatling mental communities soon dotted together; and a little child shall lead the countryside. In a sense they them"—Isa. 11:6) but also a semiwere attempts to realize the promise legendary event in American hisof the New Jerusalem set forth in the tory—William Penn's treaty with the Book of Revelation: "And I saw a Indians—in anticipation of the harnew heaven and new earth. ... And I mony among peoples of different John saw the holy City, New races and cultures that will come to Jerusalem, coming down from God fruition in America. out of heaven."(Rev. 21:1-2).

In the fringes of today's AmeriAmerican folk artists have cre- can culture, however, a premillennialated diverse and exuberant visions of ist emphasis on cataclysmic the New Jerusalem, the millennial destruction—perhaps either a natural heaven on earth. Among African response to the depredations of racism American folk artists, the vision of the and war in the twentieth century or a New Jerusalem is especially powerful. fear of rapid change—has developed.

Sister Gertrude Morgan often placed The Books of Daniel and Revelation

NEW JERUSALEM Sister Gertrude Morgan New Orleans, Louisiana c. 1970 Acrylic and tempera on cardboard 12 19" Museum of American Folk Art, gift of Sanford Smith and Patricia Smith, 1986.21.01

are being read again and their prophecies are being taken seriously. In the face of these dark forebodings, it is appropriate to recall that America was founded on the promise of millennial peace. At a time of uncertainty, it may be well to remember that heritage.* Gerard C. Werticin is director ofthe Museum ofAmerican Folk Art.

THE PEACEABLE KINGDOM Edward Hicks Pennsylvania 1846 Oil on canvas 26 x 293/8" Museum of American Folk Art, promised anonymous gift, PG 11.87.71

NOTES 1 Ruth H. Bloch, Visionary Republic: Millennial Themes in American Thought (Cambridge: Cambridge University Press, 1985), X1Eâ&#x20AC;&#x201D;JOY. 2 Millennial Praises, Containing a Col-

lection of Gospel Hymns, in Four Parts; Adapted to the Day ofChrist's Second Appearing (Hancock, Mass.: Josiah Tallcott Jr., 1813), 281. This represents a change of view; as pacifists, the Shakers were initially opposed to the Revolution.

A later verse recognizes that the "rights of conscience" celebrated in the hymn are not universally applied: "With all this you're not content,/ Still on bondage you are bent,/ Binding the poor negro too,/ He must be a slave to you! / Yet of Washington you boast,/ Spread his fame thro' every coast,/ Bury him with great ado,/ Precepts and examples too!"

3 Ruth Alden Doan, The Miller Heresy, Millennialism, and American Culture (Philadelphia: Temple University Press, 1987), 10.

4 Paul Boyer, When Time Shall Be No More:Prophecy Beliefin Modern American Culture (Cambridge: The Belknap Press of Harvard University Press, 1992), 23.

5 Ibid., 73.

6 Stephen A. Marini, Radical Sects of Revolutionary New England(Cambridge: Harvard University Press, 1983), 46.

7 Dickran and Ann Tashjian, Memorials for Children of Change: The Art ofEarly New England Stonecarving (Middletown, Conn.: Wesleyan University Press, 1974), 176.

8 A Concise Statement ofthe Principles of the Only True Church, According to the Gospel ofthe Present Appearance of Christ(Bennington, Vt.: Haswell & Russell, 1790), 12.

FALL 1999 FOLK ART 45

By Carolyn J. Weekley and Scott W. None:

he story of Edward Hicks' life in Bucks County, Pennsylvania, is familiar to many folk all enthusiasts, although certain aspects of how and why he produced his wonderful paintings remain only marginally understood.' For instance, his Peaceable Kingdom pictures are very well known, while the time he spent preparing them probably represented less than 5 percent of his total work hours as a painter. The carriages, coaches, interior faux painting, furniture, fire buckets, weathervanes, signboards, and other objects that he ornamented comprised the largest percentage of his work. And only a few examples of this type of work by his hand survive. Most museumgoers are well aware that Hicks was a Quaker during much of his lifetime, yet they underestimate the significant influence his religious life had on his easel pictures in terms of both their depicted subjects as well as the nature of their execution. In other writings it has been demonstrated that Hicks could render animals and other details in a very realistic style in imitation of fmearts painting. Such examples by his hand are rare and strongly suggest that he intentionally restrained his art for religious reasons.2

48 FALL 1999 FOLK ART

Or a (Th

a Parter

MINIATURE CHEST C. 1835 Oil on wood 5% x 8 x 4" Courtesy The Newtown Historic Association, Newtown, Pennsylvania, NHAâ&#x20AC;˘71

LIBERTY, MEEKNESS, AND INNOCENCE 1830-1835 Oil on wood 14x 93 / 4" Private collection

FALL 1999 FOLK ART 47

For many years Hicks has been regarded as the type of folk painter who was largely selftaught and whose easel work evolved to augment the income he received from shop or trade painting. This is true of many American artists with backgrounds similar to Hicks, but only partially true of the Quaker painter. His easel painting was strongly influenced by his trade training, but he did not produce such pictures to greatly enhance his income. Very few of the Kingdom pictures were commissioned or purchased by patrons; most were created by the artist as gifts and presentation pieces to friends and relatives.

There are few studies of any folk artists that address specific techniques associated with trade work and how such methods were ultimately used by the artists in their easel picturesâ&#x20AC;&#x201D;history paintings, landscapes, portraits, genre, and the like. Rarer still are studies that explain the nature of trade practice in relationship to fine-arts painting techniques. The mingling of the two is especially obvious in Hicks' work, offering new insights into how a trained ornamental painter went about the process of using aspects of both traditions to produce some rich effects, especially in the Kingdom pictures.

Edward Hicks' introduction to painting began at age thirteen with his apprenticeship to coachmakers William and Henry Tomlinson in Attleborough (now Langhorne), Pennsylvania.

The Tomlinson shop was large and employed a variety of tradesmen who specialized in a range of work as painters, bodymakers, trimmers, smiths, springmakers, wheelwrights, platers, and

40

bracemakers. Painters were especially important because the final appearance of each vehicle depended on their knowledge and skill. Often tradesmen who specialized in painting set up independent shops and accepted commissioned or contracted work from a number of coach- and carriagemakers as well as cabinetmakers and the general public. They also performed a broad range of other work. Edward Hicks' career followed this course. By 1811 he had established his own shop in Newtown, Pennsylvania, where he would advertise "Coach, Sign, and Ornamental Painting, of all descriptions."'

Hicks pursued this branch of work because he was good at it, he had an "excessive fondness" for it, and his somewhat fragile health prohibited him from doing much of the heavier work associated with coachmaking.4 In the course of his apprenticeship Hicks learned how to prepare different types of paints and varnishes. By the time he completed his term with the Tomlinsons in 1800, he likely had mastered the subtle and often tedious work of color matching (needed for repair work), drawing and laying out compositions, assessing the types of driers to use with paints and binders, ciphering and preparing heraldic devices in various styles, and proportioning letters and other pictorial elements according to the size of boards or panels.

It is likely that Hicks learned about the use of prints as sources for design work during these years; he would continue to use such images for the rest of his career. His reliance on print sources for composing many of his figures

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Detail of PEACEABLE KINGDOM 1832-1834

48 FALL 1999 FOLK ART

PEACEABLE KINGDOM 1832-1834 Oil on canvas 17/ 1 4 x 23/ 1 4" Abby Aldrich Rockefeller Folk Art Center, Colonial Williamsburg Foundation, Williamsburg, Virginia, 1932.101.1

and scenes is perhaps the most widely cited connection between his work and fine-arts models, although it should be noted that the practice was common among artists of every rank during and before Hicks' lifetime. Such fine-art models aided Hicks in drawing and linear perspective.

His use of color as seen in his easel pictures and shop work is strongly based in the general rules of taste known to ornamental painters. Hicks was well aware that specific combinations of colors produced certain effects.

For instance, the artist's frequent use of amber and brown tones to give a harmonious quality to sections of his easel

paintings is a good example of this technique. His signboards also reveal his knowledge of the two basic classes of color: warm as represented by reds and yellows, cool by greens and blues. In addition, Hicks used a yellow-colored oil sizing to form the letters in the rhymed borders of the early Kingdom pictures prior to the application of gold leaf (see The Peaceable Kingdom of the Branch). This was a common technique among sign painters in nineteenth-century America.5 But just as prints had served Hicks in drawing and laying out his images, he also observed certain qualities and effects in the paintings of studio-trained artists that he

FALL 1999 FOLK ART 49

50 FALL 1999 FOLK ART

Their surviving paintings often exhibit even greater paint film problems,especially as they age.

The durability of painted surfaces was also important for the small objects that Hicks decorated. Small details and emblematic designs were created with oil or binder-rich paints for this reason. Hicks knew the waterrepellent qualities of these dried paint films; he also used them for signboards and horse-drawn vehicles. On small decorative objects, like Miniature Chest, the box he painted for his wife, and panel pictures like Liberty, Meekness, and Innocence, these paints were easy to apply and extremely fluid in consistency. Hicks' deft and fluid brushwork is especially notable in the floral motifs on the box; these passages are layered and built up in a sculptural manner. In the allegorical painting, the brushwork is more calligraphic and dramatic in nature, illustrating the diverse range of Hicks' painting techniques.

The artist's account book lists materials that would have been used by both ornamental painters and trained fine-arts painters of his era. Materials used in gilding various types of surfaces are also listed, including a red clay or earth red that was used as a bole [earth pigments combined with glue and used as an underlayer for gold and other metal leaf] during the gilding process. Hicks employed this same material for a ground on the canvas support of one of his earliest Kingdom pictures. The use of red grounds by artists of all ranks is known and can be traced back to the work of Rembrandt. However, the type commonly used by fine-arts painters was a mixture of red lead and oil. Such grounds appear dark and rich, providing a warm middle tone from which the artist can build forms in successive layers of lights and darks. Hicks may have known about the

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EDWARD HICKS Thomas Hicks 1839-1841 Oil on canvas 1 4" 27/ 1 4 x 22/ Abby Aldrich Rockefeller Folk Art Center, Colonial Williamsburg Foundation, Williamsburg, Virginia, 1967.100.3

THE PEACEABLE KINGDOM OF THE BRANCH 1822-1825 Oil on canvas 32/ 1 4 x 37/ 1 4" Abby Aldrich Rockefeller Folk Art Center, Colonial Williamsburg Foundation, Williamsburg, Virginia, 1967.101.1

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strove to imitate. For instance, rendering atmospheric and color perspective or providing distinguishing gradations of color for foreground/middle ground/background relationships required a working knowledge of fine-arts techniques that were not an emphasis of his apprenticeship training.

While Hicks never completely mastered such methods, he was often successful in imitating them, beginning with his series of border Kingdoms about 1820. His lack of knowledge in how to foreshorten three-dimensional objects is also evident, especially with some of the animals that he altered several times in an attempt to achieve the appropriate effect. This is especially evident in the kid illustrated in Peaceable Kingdom (1822-1825). Two qualities of Hicks' paintings that viewers find so engaging and refreshing are the somewhat flat areas of balanced color and the immediacy of the animals. Much of this is a result of Hicks' inability to convincingly place his creatures in three-dimensional space through shading and foreshortening. Instead of methodically working graduated shades of color below and around the animals, Hicks most often used a drop shadowâ&#x20AC;&#x201D;a strongly delineated, dark, wide outline following the contour of the animal's body nearest the ground (see Peaceable Kingdom, 1832-1834). This feature often goes unnoticed by viewers of Hicks' work, but it is an important element in the presentation of the animals and a technique common to sign painting.

Another aspect of Hicks' easel art that is not readily discerned without laboratory analysis is the layering of his paintings. For example, examination of Peaceable Kingdom (1822-1825), via X ray revealed a fully rendered landscape background beneath the paint layers that we see depicting the trees and foliage in the upper right corner of the painting. It appears that Hicks completed each aspect of his background vista before adding the middle ground and foreground figures and elements that we see now.

Other physical evidence derived from objects decorated by Hicks, his paintings, his account book,' and family correspondence also help to define the materials and techniques he used. The Kingdom pictures are an especially important body of work for comparative study since they were created from about 1816 to the eve of his death in 1849â&#x20AC;&#x201D;nearly the full extent of his professional life.

Hicks' training as an ornamental painter served him well in his profession. It is this technical background that also appears to have influenced the longevity and integrity of his paint films as seen today. His signboards and decorative paint formulations were made exceptionally durable to withstand wear and exposure to weather of all sorts. The formulas of these paints and finishes appear to have informed his preparation of colors for his easel paintings.

As a result, Hicks' surviving paintings are in remarkable condition. The sole exception may be the improperly formulated pigment copper resinate green with which Hicks experimented in his early Kingdom paintings for grass and foliage. This translucent grass green color made from copper acetate, listed as verdigris in his account book, remains incompletely dissolved, granular in character, and bluish in tone. Some folk painters who lacked the sort of trade training learned by Hicks frequently mixed their pigments improperly or combined materials on hand inexpertly.

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cad them .

PEACEABLE KINGDOM 1822-1825 Oil on canvas 21"/ic 27" Private collection

benefits of using such grounds from his training since they were also common to some types of ornamental work.

Hicks' brushwork in his easel paintings retains a large measure of the sharp, lyrical quality that characterizes his decorative work and sign painting. Examination of a large number of paintings by Hicks indicates that he continued to use sign painters' brushes for much of his easel work. The use of these tools resulted in the linear and fluid quality of brushwork consistently observed in his signboards and easel pictures. The fine-bristled, well-defined contours of sign-painting and lettering brushes made them the obvious choice to render the fine lines of a leopard's whiskers or the unbroken and finely articulated feather headdresses of the Native American figures seen in the many scenes of William Penn signing his famous treaty.

The lettered borders in the early Peaceable Kingdoms and similar titling seen on later pictures are the most obvious links with Hicks' sign-painting skills. There are other similarities that could be cited.

The close study of a significant number of Hicks' Peaceable Kingdom pictures provides some general conclusions about how the artist's style and treatment of borrowed devices, from print and other sources, evolved over time. It has been observed that most folk or similarly ranked artists who become aware of fine-arts concepts and methods strove to imitate or learn them and improve their art. The goal for many of these painters was to emulate as much as possible the fine-arts model because its look was considered more fashionable and desirable by prospective patrons.

For these easel artists, patronage was essential and the prime reason they continued to paint. As noted earlier, this was not Hicks' primary motivation for the vast majority of his easel pictures, including the many versions of the Peaceable Kingdom.

Instead of gradually evolving his art to look more like academy models, Hicks' approach was just the reverse.

As Hicks continued to refine and develop elements in the Kingdom pictures, many aspects of which had been ii-

FALL 1999 FOLK ART 51

tinily borrowed from print sources, his paint can Folk Paintings and Drawings Other Than handling became more assured and he began to Portraits from the Abby Aldrich Rockefeller Folk personalize the animals as well as the back- Art Center (1987), and Treasures of American Folk Art(1989). grounds and other elements in his compositions.

Scott Nolley is associate conservator of His emphasis moved rather quickly from objects and paintings at Colonial Williamsburg. He attempts at faithfully copying passages from received his B.A. in art historyfrom Virginia fine-arts sources to simpler, more linear repre- Commonwealth University in Richmond and his sentations that best served the symbolic func- master'sfrom Buffalo State College Art Conservation tions he envisioned. It is also true that in the Program, Buffalo, New York. Nolley has been with midst of this evolution Hicks continually Colonial Williamsburg since 1996 and is responsible devised different expressions for the principal for the stabilization and preparation ofpaintings and carnivorous animals. Independent of Hicks' objectsfor exhibition and loan as well as the supervitechnicians and interns. need as a Quaker minister to restrain his art was sion ofconservation his desire to simplify and codify his pictures into highly readable visual messages. It was the lay- NOTES ers of meanings in these paintings that mattered 1 Edward Hicks was born to Isaac and Catharine most to Hicks and his viewers. The Kingdom Hicks in Bucks County,Pennsylvania,in 1780. In pictures in particular became theatrical tableaux 1783,two years after his mother's death, Edward was on which very dramatic relationships are por- boarded with Newtown Quakers David and Elizabeth trayed. Over time, Hicks worked out a variety of Twining. From 1793 to 1800 he served his apprendevices that enhanced the viewer's perception of ticeship with William and Henry Tomlinson in what the animals. By the 1830s, for instance, he had is now Langhorne, Pennsylvania,to learn a branch of the coach- and carriagemaking trade. He started adjusted the perspective of the ground so that it attending Quaker meetings in 1803 and was named a tilted toward the viewer and made the animals minister in the Religious Society of Friends in 1811. most immediate and noticeable. Years of experi- It was about this time that Edward, his wife, and their menting with spots on the leopards led ulti- growing family moved permanently to Newtown, mately to highly graphic representations. Both where he opened his painting shop. Hicks died on of these approaches were strongly akin to his August 23, 1849. For a complete history of his life, sign-painting methods, which were second see Carolyn J. Weekley, The Kingdoms ofEdward Hicks(Williamsburg, Va.: The ColonialWilliamsnature to Hicks the tradesman.

Hicks' approach to easel painting resulted burg Foundation in association with Harry N. in an interesting irony. His early series of King- Abrams,Inc., 1999).

2 John Comly,the artist's close friend, observed dom pictures that have borders tend to reflect his that Hicks "declined to indulge what is called a preoccupation with imitating fine-arts painting; native genius for such paintings—a genius, and they therefore contain elements that look more taste for imitation, which if the Divine law had realistic. Hicks' later work, especially that of the not prohibited, might have rivaled Peale or 1830s and early 1840s, is much flatter and more West—but as the indulgence of it, appeared to symbolic in its rendering. It might be concluded him [Hicks], to feed a vain mind, and promote that there is little that is really naive about Hicks' superfluity—and having a testimony given him easel art. He was fully aware of his choices, his to bear in favour of Christian simplicity, he methods and details were conscious and deliber- clearly saw the contradiction and inconsistency ate, and he intentionally moved away from slav- of such a calling"(Weekley,32).

3 Weekley, 30. ish copying of fine-arts models to the more 4 Weekley,29. stylistic imagery that suited his particular needs. 5 The terms "ornamental painter" and "ornamental By the 1830s the Kingdom pictures exuded a painting" as understood in the nineteenth century are clarity in both design and color that greatly best defined by another American artist, Rufus Porter, enhanced the symbolic messages they carried.* who was a contemporary of Edward Hicks, as "sevCarolyn J. Weekley is director of museums at Colonial Williamsburg. She graduatedfrom Mary Baldwin College in Staunton, Virginia, and completed the Winterthur Program in Early American Decorative Arts and Cultural History. Her museum experience includes positions at the Museum ofEarly Southern Decorative Arts in Winston-Salem, North Carolina, and the Virginia Museum ofFine Arts in Richmond. Weekley is the author ofJohn Singleton Copley: An American Painter Entirely Devoted to His Art(1994)and The Kingdoms of Edward Hicks (1999). She is also coauthor of American Folk Portraits: Paintings and Drawings from the Abby Aldrich Rockefeller Folk Art Center (1981), Ameri-

82 FALL 1999 FOLK ART

eral branches which might be considered under this head,such as bronzing, stripping, and landscape painting. But what is more strictly understood by the art of ornamental painting, is that of painting pictures on signs, carriages, and banners." Porter goes on to give instructions and notes on various other branches associated with such work,including "painting ornaments on carriages and fancy sleighs, or furniture" and other objects (Scientific American [October 16, 1845], 2, and contained in an unpublished research report by Louis C. Jones, New York State Historical Association, Cooperstown, N.Y., 1969).

6 The artist's account book is the property of the Bucks County Historical Society, Doylestown, Pennsylvania.

The Kingdoms of Edward Hicks On view at the Philadelphia Museum of Art October 10, 1999—January 2,2000

he exhibition "The Kingdoms of Edward Hicks," organized by curator Carolyn J. Weekley, director of museums at Colonial Williamsburg, was presented at the Abby Aldrich Rockefeller Folk Art Center from February 8 through September 6 of this year. It will be on view at the Philadelphia Museum of Art from October 10, 1999, to January 2,2000.

Edward Hicks(1780-1849), creator of the popular Peaceable Kingdom paintings, is among the most beloved of American folk artists. He was a lifelong resident of Bucks County,Pennsylvania, and a devoted Quaker missionary and preacher. His life and art is explored in a comprehensive exhibition that features more than eighty works. In addition to important examThe Kingdoms ples of the PeaceEdward Hicks able Kingdom,the exhibition features rural landscapes, pastoral scenes, advertising signboards, and decorated furniture.

Also included is a A portrait of the artist painted by his nephew Thomas Hicks between 1838 and 1841, as well as important manuscript materials that illuminate Edward Hicks' deep spirituality, artistic talent, and intense interest in the doctrinal controversies that divided his fellow Quakers in the early years of the nineteenth century.

A fully illustrated, 312-page, hardcover publication accompanies the exhibition. Copublished by The Colonial Williamsburg Foundation and Harry N. Abrams, The Kingdoms of Edward Hicks, by Carolyn J. Weekley, may be purchased for $39.95 from the Museum of American Folk Art Book and Gift Shop,2 Lincoln Square, Columbus Avenue at 66th Street, New York City. To order, please call 212/496-2966. Museum members receive a 10 percent discount.

Warren Studio, Del

The Visionary Drawings of Chelo Gonzal z A ozcua

By Jenifer P. Borum

t midcentury, the artist's artist was the madman, the alienated existentialist antihero scribbling cryptic masterpieces in an asylum cell. Antonin Artaud, locked in his cell at the Rodez asylum, drawing in an isolated fury, his mind fried by peyote buttons and electroshock therapy, opposing the oppressive order and sanity of modern society, has until recently served as the quintessential outsider role model. The myth of the outsider artist as mad geniusâ&#x20AC;&#x201D;first put into motion by misinterpretations of writings by psychiatrists Walter Morganthaler and Hans Prinzhorn, and subsequently by misreadings of Jean Dubuffet's seminal art-critical contributionsâ&#x20AC;&#x201D; has been cleverly promoted in the last two decades by a burgeoning art market eager to sell souvenirs from the aesthetic margin. Dubuffet's notion of art brut, anglicized by Roger Cardinal's well-chosen moniker "outsider,"1 has been, for worse and not for better, misused to identify a vast array of artists in both Europe and America whose only common ground consists of their lack of mainstream academic art education, attaching an unavoidable air of pathology to their otherwise rich and varied production.

%-'' 1 2 E .., i.

3

IN THE WORLD 1962 Pen on paper 28 22" Museum of American Folk Art, Blanchard-Hill Collection, gift of Edward V. Blanchard and M. Anne Hill, 1998.10.01

MAZORCA DE FILIGRANA 1968 Ink on paper 26 22" Cavin-Morris Gallery, New York

At century's end we have a new aesthetic hero: the religious visionary artist, the alienated prophet speaking to our secular society as we approach the apocalyptic fires of the new millennium. This mythical figure is a variation on the theme of the heroically creative madman, manufactured to appeal to the mystical yearnings of our spiritually bankrupt society. As promoted by both market and museum, the visionary artist is a subtle variation of the outsider, the only difference being the religious tone of his or her madness. Artwork by this brand of outsider is appealing and salable, often functioning as a highbrow alternative to the five-dollar guardian-angel stickpin, reflecting and relieving the collecting cognoscenti's fin de siècle jitters.

The psychiatric baggage attached to the myth of the visionary grossly misrepresents the many selftaught artists who experience their creativity as a supernatural gift, yet who are neither mad nor isolated.

They live and work in a variety of cultures in which spirituality, in the form of either organized religion or an intensely personal connection with the divine, has not yet been deemed obsolete. Indeed, viewed from the central vantage point of secular mainstream society, these artists seem to us to be mysterious "others," when in fact it is our own cultural amnesia that renders them so. We have collectively forgotten that before the modern period, many of the artists we value in the Western tradition, from Michelangelo to Blake, experienced their creativity to be divinely inspired. We continue to devalue artwork produced by nonWestern cultures and our own nonmainstream subcultures in which artists draw from spiritual traditions and experiences. Although presented as such in our society, contemporary self-taught visionary artists are not crazy loners, but are instead culturally grounded individuals who have been marginalized by their nonparticipation in the Western academic canon of aesthetics, which favors the ideal of secular humanism over spirituality.

We know that all world cultures have their shamans, seers, mystics, and prophets. In many cases, these liminal figures occupy a revered place in organized religion, but more

often they have been relegated to the margins of the social order, expressing themselves not through sanctioned ritual but instead through private expressions—literary and artistic—of their intense spiritual experiences. From John the Evangelist to Hildegard of Bingen, they have written of a personal relationship with the divine; from Michelangelo to William Edmondson they have communicated this aesthetically. From an

culturally embedded. Randall Morris proposed this notion in his study of the self-taught artist Martin Ramirez: "If we remove [Ramirez] from the glib word 'outsider' and return him to the vast universe of cultural contemporary art, we will see that he was born a Mexican, lived as a Mexican, and, according to his drawings, died with full self-realization as a Mexican. Seen as 'exotic,' as 'formally compelling' and 'inscrutably obses-

intellectual, secular vantage point, the creative process of the visionary artist has been mistakenly equated with that of the psychotic artist, an unethical critical blunder that has yet to be untangled. The first step in this undertaking is to refrain from indulging in the myth of the outsider, or insane isolate—a difficult task considering that we have so much invested in this tragic character—and recognize instead the degree to which the work of visionary artists is

sive,' his work has been known by the art therapy—oriented part of the field as the fantasy world of a man who was in a California institution for over thirty years."'

To recognize the cultural embedment of the self-taught visionary artist (without reducing it to safe, patronizing clichés of fondness) does not render his or her work any less profound, and yet that is our fear.

Concerning the case of Ramirez, Morris asked: "Are we afraid that if we

FALL 1999 FOLK ART U

understand the man's images too well we will demystify his power? It is like holding a wonderful book we found on the ground and making up our minds not to have the book translated because what it says cannot be more important than its power as a cryptic object. Nothing has to be cryptic about Ramirez's artwork."3 By admitting the cultural identity of visionaries, thereby foresaking our outsider hero, do we run the risk of catching a glimpse of our own cultural displacement and alienation? I suggest that it is worth the risk, for by relinquishing the hero, we gain the artist with all of his or her wonderful complexity and stop fueling the process of marginalization that robs artists like Ramirez of identity as well as legitimacy: "If we accept the context of his drawings, then we accept that he was in control of the art he was making and therefore we can feel free in allowing him to be Martin Ramirez, Artist, rather than trapping him eternally in the web of Outsider."4 As the hegemony of the canon of Western art slowly but surely gives way to a more culturally inclusive, democratic understanding of world art, Ramirez and other self-taught visionaries will earn the recognition they deserveâ&#x20AC;&#x201D;as artists, not as outcasts, patients, or inmates.

Perhaps a look at another selftaught visionary, a Mexican American artist like Ramirez who nevertheless lived and worked under very different circumstances, will more clearly illuminate the ways in which deeply rooted cultural identity, autodidactic talent, and visionary intensity are not mutually exclusive, but are in fact qualities that are inextricably linked.

Consuelo (Chelo) Gonzalez Amezcua (1903-1975), a Mexican immigrant who lived and worked in Del Rio, Texas, was a prolific self-taught artist who drew upon and celebrated both her bicultural heritage and her visionary creative process through an extensive oeuvre that included lyrical poetry, music, performance, stone carving, and a significant body of richly detailed, decorative pen-and-ink drawings of exotic subjects in lush, often mythical settings. Indeed, the skeptic who refuses to accept Morris' challenge to recognize the rich multicultural and overwhelmingly spiritual context of Ramirez's creole 5 drawings

66 FALL 1999 FOLK ART

cannot avoid the coexistence of culture and vision in Gonzalez Amezcua's body of work; unlike the mute, institutionalized Ramirez, she used her voice and her pen to communicate both.

We owe our knowledge of Gonzalez Amezcua's life and work to

Texas, in 1913.6 She attended school for only six years, although she never received any formal training in art.7 Throughout her life, in addition to her drawings, she wrote poetry and lyrical verse, and among her works is included an autobiographical state-

Dr. Jacinto Quirarte, who diligently conducted interviews with the artist before her death and who has written several defmitive studies of her work.

Born in Piedras Negras, Mexico, in 1903, Chelo Gonzalez Amezcua moved with her family to Del Rio,

ment; by her own account, she lived and worked happily in Del Rio until her death. She also carved stones found along the Pecos River from 1956 to 1964, but was forced to stop because of the physical difficulty this task required. To be sure, any consid-

SEAL OF ANCIENT TREASURES 1974 Ballpoint pen on paper 29/ 1 2> 22" Milwaukee Art Museum, gift of Anthony Petullo, M1996.408

eration of this artist must recognize each part of her artistic production in context of its rich totality, which included performance as well. Yet it is the legacy of her exquisite pen-andink drawings that concerns us here, as her graphic oeuvre unquestionably stands as her most significant contribution.

Gonzalez Amezcua began drawing at an early age, and although she was offered an art scholarship to the San Carlo Academy in New Mexico, she turned it down because of her

RAMSES II 1966 Ink on paper 2" / 22 â&#x20AC;˘ 271 The McNay Art Museum, San Antonio, Texas, gift of Amy Freeman Lee in honor of Blanche and John Leeper

father's death, a twist of fate that allowed her work to unfold along its own autodidactic mandate. Like many self-taught artists, she worked with readily available materials: ballpoint pen on cardboard. Even after she had gained recognition as an artist and was offered a selection of high-quality art supplies, she continued to use ballpoint pens for the features they offered. Quirarte notes: "No special technique was required. Long continuous lines could be executed without the constant dipping of a pen in an

sketches, but began each piece by laying in the outline of the central images, and then filling in the rest with her signature ornamental detail.

Each began with a well-developed idea, often expressed in a poem on the verso, and while the artist attributed both her inspiration and ability to execute each drawing to God, her iconography ranges from secular to sacred themes. She drew kings and rulers from many different world cultures, both real and mythical, ensconced in fabulously ornate palaces and gardens; she drew on her life experience and on her Mexican and Texan cultural traditions; and finally, she gratefully symbolized her visionary gift in the form of the peacock as well as beautiful winged muses. Throughout, Gonzalez Amezcua's favored setting is the walled-in garden, overpopulated with exotic flowers and birds, a safe, imaginary place in which the artist was able to enact what she experienced to be an aesthetic miracle each time she put pen to cardboard. By Gonzalez Amezcua's own account, each work took her approximately ninety hours to complete, working about three to five hours each day for two and a half weeks.

As is the case with most self-taught artists, especially those who experience their creativity as a divine gift, Gonzalez Amezcua did not produce artwork for a critical audience, nor did she participate in any art3 world until much later in life, and even then it was circumstance and not ambition that led her into the public eye. In 1964, at a luncheon following a lecture at the horror vacui, yet ought to be more Del Rio Public Library, her drawings accurately recognized as a celebratory came to the attention of visiting expression of an active connection speaker Dr. Amy Freeman Lee, who with what the artist perceives to be a would later serve as curator supernatural force that not only pro- of the artist's debut exhibition at San vides the image but guides his or her Antonio's McNay Art Museum in 1968. Since then, Gonzalez hand throughout its execution.

Gonzalez Amezcua initially Amezcua's work has been enthusiastichose to work with black ballpoint cally received in the overlapping folk, pen and later expanded her palette to outsider, and visionary art circuits and include red, green, and blue. Toward has been included in significant, highthe end of her life she added both profile survey shows, including "Dricrayon and felt-tip pen to her reper- ven to Create: The Anthony Petullo toire. She did not make preparatory Collection of Self-Taught & Outsider

inkwell. She had no need for subtle differences in thickness or thinness of lines in her work."8 The activated, abundant flow of Gonzalez Amezcua's drawings resonates with that of other well-known self-taught visionaries who also created two-dimensional, line-driven workâ&#x20AC;&#x201D;such as the mediumistic, labyrinthine drawings of Madge Gill and Scottie Wilson and the lush, floral compositions of Minnie Evans. This formal fluidity has often been discussed in diagnostic terms as an inherently compulsive

FALL 1999 FOLK ART 57

Art" at the Milwaukee Art Museum in 1993,"Tree of Life" at the American Visionary Art Museum in Baltimore in 1995, and "Spirited Journeys: SelfTaught Texas Artists of the Twentieth Century" at the Archer M. Huntington Art Gallery at the University of Texas at Austin in 1997. As a visionary, she has rightly been contextualized with other artists who share fundamental elements of her creative process. Yet it is important to note that because of her lack of formal art education, and also likely because of her humble choice of materials, she has been excluded from the mainstream of contemporary art during the very same period when both women and culturally marginalized artists began to receive attention in the artworld. Like other selftaught women and minorities not critically engaged in a critique of the Western canon of art history, Gonzalez Amezcua has been relegated to the outsider margin in which the issue of cultural identity has been deemed immaterial, an ineffective and misleading categorization for this and many other artists.

How did we come to believe that self-taught artists, even those whose creativity is marked by uncommon psychological intensity, must be isolates? Even Adolf Wolfli, who lived most of his life in an institution, drew on his Swiss culture for aesthetic inspiration. A brief reconsideration of the origins of the outsider-isolate myth may help to shed some light on the confusion that continues both to hamper our understanding of untrained artists and to prevent our field from recognizing the significant ways in which American and European self-taughts share a common creative ground despite their vast cultural differences.

The term "outsider" was a book editor's simple, appealing translation of Jean Dubuffet's art brut (raw art).9 Dubuffet was utilizing the French anthropologist Claude LeviStrauss' distinction between the raw and the cooked, adjectives referring

158 FALL 1999 FOLK ART

to a state of nonindoctrination to Western culture; a practice or an artifact that is raw has escaped the cultural "cooking" process of high culture. Dubuffet's championing of art brut was in part aimed as an attack on the stagnant European avantgarde's market success and lack of revolutionary focus. His anticultural positioni째 was a critique of high culture's negative effect on artistic creativity, not of lived culture's enrichment of it.

In his essay "Asphyxiating Culture," Dubuffet targets the stifling process of (high) cultural conditioning or "inculturation" of artists and public alike carried out by the university, the museum, and the government. For Dubuffet, this process goes against the grain of true artistic creativity. He distinguishes between two definitions of culture: "The word 'culture' is used in two different senses, sometimes meaning the knowledge of works of the past. ..(a very limited

INDICENAS c. 1964 Pencil and ink on board 28 22" The Menil Collection, Houston, purchased with funds provided by the Charles Engelhard Foundation, 97-22 D1

KING'S TRAYS 1960s Ballpoint pen on paperboard 28 x 22" Museum of American Folk Art, gift of Cavin-Morris Gallery, New York, 1995.19.01

selection based on trends that won acceptance in the minds of scholars), and sometimes more generally the activity of the mind and the creation of art." According to Dubuffet, his first designation of cultureâ&#x20AC;&#x201D;Western cultureâ&#x20AC;&#x201D;has been codified into a fixed hierarchical system of aesthetics arbitrarily valued over all other forms of artistic expressions that in turn comprises his second definition of culture. He laments the prejudice on the part of professors and other defenders of high culture against nonacademically sanctioned forms of art: "For them, if it isn't conformist, it must be pathological. According to them, only crazy people can envisage an art different from that adopted by

the collective convention. . . . for them, it must be an art of no value, since it is the product of a crazy person, and can only be viewed from a medical perspective, or else at most as make-believe, a freak of nature, an unhealthy curiosity.'912 By "collective convention," the author means the dominant, Western culture: "What we say about culture when we mean to speak about our culture is not necessarily valid for the general principles of culture as a whole."3 Western cul-

ture, he argues, operates by classify- visual opulence. In marked contrast to ing all forms of creativity according to academically trained artists who a rigid hierarchy, devaluing creative respond to the canon of Western art abundance and diversity according to history, Gonzalez Amezcua's primary preset notions of aesthetic and com- sources were literary, allowing her inspiration to be filtered through and mercial value.

Dubuffet's second and more become transformed by her imaginaexpansive definition of culture, or "the tion before taking shape on paper. She activity of the mind and the creation drew from the Bible and myths of of art," opens up to include artistic ancient Greece and Egypt, as well as productions that do not belong to the tales from medieval Spain and precoloWestern canon. Proponents of outsider nial Mexico.

Unhampered by any academic art, in deifying the isolate hero, have, in their enthusiasm to support Dubuf- or critical agenda in her response to fet's anticultural stance, made the fun- world history and culture, Gonzalez damental mistake of conflating his Amezcua's motive was to be the best first and second definitions of culture. visual storyteller she could be through Yet, nowhere did he propose that both narrative and form. Ramses II grassroots, ethnic, or minority cultures (1966) presents the pharaoh posed on taint raw creativity. On the contrary: his horse-drawn chariot, surrounded The kind of unsanctioned cultural by symbols of his power: pyramids, abundance one finds in the work of temples, mummies, and other cryptic self-taught visionaries like Ramirez symbols and personages. By dramatiand Gonzalez Amezcua is precisely cally flattening the composition and what Dubuffet celebrated. To edit out ordering the figurative and symbolic the issue of cultural identity from dis- elements in a rigid, repetitive manner, cussions of their work in the interest the artist has knowingly echoed charof positing an unrealistic notion of acteristics of Egyptian art to set a hispure creativity is irresponsible critical torically appropriate mise-en-scene for practice. Gonzalez Amezcua's her- her subject. Similarly, in ABen-amar itage and identity did not weaken or the Christian (1966) the artist pays compromise her visionary intensity, homage to medieval Islamic art and but instead facilitated it, giving it a culture. A moor's son who converts to richness evident in each work. An apt Christianity, the mythical character expression of the liminal position stands framed by fabulously ornate occupied by the culturally grounded archways, visually activated by visionary is found in her drawing In Gonzalez Amezcua's own variation the World (1962), in which a young of rich abstract patterning typical of woman in Mexican dress dances at the Islamic architectural detail. As with center of an explosively decorative many such drawings, this one is background. Despite the figure's accompanied by a narrative poem, and firmly rooted position in her culture, while her purpose was to entertain her she stands blindfolded; by losing her audience with a mythical tale, it is literal sight, she is possessed of other- important to note that her role as a worldly vision. With one foot in this storyteller need not interfere with our world and one in the next, this undeni- recognition of her aesthetic accomably autobiographical figure epito- plishment. According to academic artmizes the self-taught visionary's historical standards, narrative-oriented art will always be less significant than wonderfully paradoxical power.

Gonzalez Amezcua's nonacade- formally self-reflexive artworks, a mic creative path led her to respond modern bias that has always worked aesthetically to a wide variety of world against the critical recognition of cultures, reflected not only in theme many self-taught artists' narrative and motif but also in such formal prob- impulse. To be sure, Gonzalez lems as composition, handling of fig- Amezcua's drawings are not simply ures, and the development of her illustrations for poems; their visual forays into abstraction. Her fascination strength is self-evident. Each one is a with ancient cultures led her to repre- formal hybrid of cultural traditions sent, through a hybrid of research and and self-taught improvisation. In imagination, mythical kings and rulers King's Trays (1960s), narrative gives rendered with virtuoso displays of way to visual play. This pastiche of

FALL 1999 FOLK ART 59

the artist's signature multicultural homages, in which passages of both figurative and abstract ornamentation are set off in geometric framing devices and then integrated to create a unified composition, reveals a wonderful affirmation of art for art's sake.

As Quirarte has already discussed, Gonzalez Amezcua's own cultural identity played an even greater role in her oeuvre than did her crosscultural explorations. The artist was a native of Mexico as well as a proud Texan, and her bicultural heritage manifested itself in her drawings in many ways, obviously as well as subtly, through both subject matter and form. It is important to note that as a self-taught artist, Gonzalez Amezcua was free not only of indoctrination by the academic tradition of Western art, but also of the influence of a strict apprentice's training in folk crafts traditions. Her celebration of her own Mexican and Texan cultures through her artwork was always displayed according to Dubuffet's aforementioned creative notion of culture.

Gonzalez Amezcua's identity as a Tejana (Spanish-speaking Texan) female announces itself overtly in her poetry, much of which was written in Spanish (though some was in English), and in myriad ways in her drawings.

As mentioned above, the cultures of Spain and Mexico served as both formal and iconographic sources for her drawings. Like Ramirez, she drew on the Mexican tradition of milagros, or offering gifts to a saint as part of a prayer. Quirarte recognized this in one of Gonzalez Amezcua's works from 1970, in which the artist offers a saint the gift of crosses to accompany a specific prayer.14 Yet it was the abundance of her contemporary grassroots TexMex culture that infused all of her work most profoundly. She named her work "Texas filigree art" in honor of the filigree openwork that adorned her metal jewelry. Mazorca de Filigrana (1968), an abstract explosion of organic, free-form shapes, is an example of the artist's unique transformation of filigree design. Here, cultural tradition and formal exploration mingle and complement each other in a composition that at once reveals the artist's identity and autodidactic genius.

Gonzalez Amezcua's cultural grounding can be understood in a

131) FALL 1999 FOLK ART

more literal way when one considers critic Lucy Lippard's observation concerning the importance of place in the art of Mexican Americans: "Southwestern Mexican Americans are among the most land-based peoples in this country.... land and community history are preserved most consciously by artists."5 Throughout her poetic oeuvre, the artist expresses her love for and connectedness to her home city of Del Rio and the land itself. One finds the same querencia, or love of land and place, in her drawings, from the floral motifs in her abstract filigree to the central motif of the garden that centers the majority of her works to specific drawings devoted to this theme. Gonzalez Amezcua's querenciaâ&#x20AC;&#x201D;and the gifts of cultural and gender identity to which it is inextricably linkedâ&#x20AC;&#x201D;is most clearly expressed in Indigenas (c. 1964), which features a Mexican woman at the center of its composition. Dressed in traditional garb, she holds a bouquet of flowers and is surrounded by a range of Mexican cultural objects and aesthetic motifs both pre- and postcolonial. To the lower right is an idyllic farm scene framed by a wispy border, a memory that seems to belong less to one individual than to a collective cultural unconscious. This powerful statement is as significant as any produced by an academically trained artist engaged in a self-conscious recuperation of visual culture. Yet Gonzalez Amezcua's status as an autodidact and her lack of a critical/political agenda have disqualified her and other self-taughts from being considered as valid participants in the new multicultural arena of the contemporary artworld.

It is the visionary aspect of Gonzalez Am6zcua's work that gives it its unmistakable intensity. As with many untrained artists from a variety of cultures, she experienced her creativity to be God-given. More than simply acknowledging her talent as a blessing, she felt it to be a very direct expression of an intensely personal, even palpable communication with the divine. As Dubuffet reminds us, this experience need not be considered pathological. Although irreducible to any one time period or culture, the visionary experience is both nurtured and enriched by cultural practice. This

is true of the very religious Tejana culture to which the artist belonged, in which a personal relationship with the divine was sanctioned and accepted, as in the case of the possibility of an individual's personal relationship with a santo. But spirituality of this nature runs deeper than overt symbolism.

Lippard has written: "Art about place and displacement may include an overt or covert religious or spiritual aspect . . . not recognizable in traceable iconography but in the sub-

merged rhythms and patterns that served the land itself and the spirits that inhabit it."6 Above all, Gonzalez Amezcua's visionary intensity manifests itself in pure form, a free-flowing linearity that attempts to neither conform to nor critique the Western tradition of one-point perspective. Through her graphic work, she has unselfconsciously elevated the decorative impulse to a position of central importance and charged it with subtle but unmistakable spiritual power.

Whether her chosen subject was secular or sacred, Gonzalez Amezcua attributed her ideas and their graphic expression to a gift from God.

IN THE GARDEN OF AZARIAS 1974 Ink on mat board 111 / 2 x 7/ 1 2 " CavimMorris Gallery, New York

ABEN-AMAR THE CHRISTIAN 1966 Ballpoint pen and ink and pencil on paperboard 22/ 3 46 27" National Museum of American Art, Smithsonian Institution, gift of Dr. Amy Freeman Lee in memory of the artist, 1991.153

Part of a poem reads: "School of the arts I couldn't afford / and for that I thank the Lord / for what he has given me is the truth of his great love / for him I write / and carve a stone / and make a drawing / and sing a song."17 She also expressed her visionary inspiration in the symbolic images of the angellike winged muse, as well as the peacock. In many of her depictions of regal subjects, a peacock appears to echo the ruler's power with that of the divine, while in other works, such as

bent of the outsider discourse, can we begin to understand and truly appreciate their artwork and distinctive creative process. By recognizing the cultural identity of visionaries, we can understand their work not as radically "other," but as something that can once again become part of our world. In the end, the outsider is a fictional character created by those enamored by alienation and projected onto artists who are, by contrast, spiritually whole individuals.

III

1/.40 II OBI

In the Garden of Azaria's (1974), the peacock is the central image. A poem accompanying another image of a peacock reads: "My peacock does have a rhythm when it walks / its gentle cadence knows how to inspire me /[it] creates visions in my mind / beauty without equal dressed in plumage I see her dance."8 Here, the artist makes palpable that which cannot be seen, both to communicate her visionary experience and to express her gratitude for it.

Only by reconsidering our use of the term "outsider," and by detaching our discussion of self-taught visionary artists from the psychiatric

Although not academically trained, self-taught visionaries are not critically opposed to high culture; that is to say that they do not share Dubuffet's anticultural position, but rather make work in spite of its mandates.

They do not rebel against its value system, but function wholly outside of it. As advocates of the intrinsic value of their self-taught creations, we ourselves would do well to adopt Dubuffees anticultural polemic in the sense that he originally intended it, to oppose the status quo of high art and demand a revaluing of self-taught artists' worth. Dubuffet advocated "deculturation, a deconditioning from

the hierarchical value system of the Western canon, a willful forgetting of our Inculturation' by high culture."9 Only then will the fullness of the selftaught visionaries' messages be heard and their artwork receive the recognition it deserves.* Jenifer P. Borum is currently a Ph.D. candidate in art history at the City University ofNew York's Graduate Center. She has writtenfor Artforum, New Art Examiner, Raw Vision, and this publication.

NOTES 1 Roger Cardinal, Outsider Art(London: Studio Vista, 1972).

2 Randall Morris,"Martin Ramirez," Folk Art(winter 1995/96): 39.

3 Ibid.

4 Ibid., 44.

5 Morris aptly applied this term to illuminate the elusive, dynamic mode of cultural overdetermination evident in Ratnirez's work. Never obvious, creolized visual forms simultaneously conceal and reveal information. They are expressive and yet often cryptic to those who do not share the artist's cultural vocabulary, which partially accounts for the dismissive response Morris' article received from the outsider camp, which continues to view Ramirez as a pathologically noncommunicative isolate. Robert Farris Thompson's groundbreaking recognition of creative creolization in grassroots African American art forms has met with similar dismissal for the very same reason.

6 Dr. Jacinto Quirarte,"Mystical Elements/Lyrical Imagery: Consuelo Gonzalez Amezcua(1903-1975)," catalog essay for exhibition at the Del Rio National Bank, October 21â&#x20AC;&#x201D; November 22,1991.

7 Ibid.

8 Ibid.

9 Cardinal, ibid.

10 Jean Dubuffet,"Positions anticulturelles," in Prospectus et tous les ecrits suivants(Paris: Gallimard, 1967), 1: 94-100.

11 Jean Dubuffet,"Asphyxiating Culture," Asphyxiating Culture and Other Writings(New York: Four Walls, Eight Windows, 1986), 8-9.

12 Ibid., 27.

13 Ibid., 31.

14 Quirarte.

15 Lucy Lippard, Mixed Blessings: New Art in a Multicultural America (New York: Pantheon Books, 1990), 118.

16 Ibid., 108.

17 Quirarte.

18 Ibid.

19 Dubuffet,"Asphyxiating Culture," 93.

FALL 1999 FOLK ART Si

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BOARD OF TRUSTEES Executive Committee Ralph 0.Esmerian President Frances Sirota Martinson Esq. Executive Vice President and Chairman, Executive Committee Lucy C. Danziger Executive Vice President

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CAPITAL CAMPAIGN DONORS The Museum of American Folk Art has announced a $30 million campaign to construct and endow a new home on 53rd Street. As of June 30, 1999, more than $20 million has been raised from the following donors: Sylvia J. Berger Big Apple Wrecking & Construction Corporation Edward V. Blanchard & M.Anne Hill Mr.& Mrs. James A. Block Edith S. & Barry D. Briskin Florence Brody Lewis P. Cabot

RECENT DONORS FOR EXHIBITIONS AND OPERATIONS(as of July 1, 1999) The Museum of American Folk Art greatly appreciates the generous support of the following friends: $100,000 and above Pioneer Valley Art Foundation, Inc. Two anonymous donors $99,999—$50,000 Edward V. Blanchard & M. Anne Hill Edith S. & Barry D. Riskin Ralph 0.Esmerian Samuel & Betsey Farber Vincent & Anne Mai Joan M. McCall One anonymous donor $49,999—$20,000 The Andy Warhol Foundation for the Visual Arts Barbara & Thomas W.Strauss Fund Burnett Group Edward Lee Cave Peter M.& Mary Ciccone Country Living Joseph F. Cullman 3rd David L. Davies & Jack Weeden Fireman's Fund Insurance Company Vira Hladun Goldmann Mr.& Mrs. John H. Gutfreund Joseph Martinson Memorial Fund Mr.& Mrs. Dana G. Mead Julie K.& Samuel Palley Pfizer Inc Philip Morris Companies Inc.

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Restaurant Associates Industries, Inc. The Smart Family Foundation Inc. Geoffrey & Elizabeth Stern Time Warner Two anonymous donors $19,999—$10,000 Bear, Stearns & Co. Inc. Bristol-Myers Squibb Company Christie's Mrs. Daniel Cowin Credit Suisse First Boston Lucy C.& Frederick M. Danziger The Dietrich American Foundation & H. Richard Dietrich Jr. Jacqueline Fowler Jean S. & Frederic A. Sharf Fund Joan M.& Victor L. Johnson The Judith Rothschild Foundation Mr.& Mrs. Mark Leavitt LEF Foundation Lipman Family Foundation,Inc. George H. Meyer Esq. Mr.& Mrs. Keith Morgan New York State Council on the Arts The Norman & Rosita Winston Foundation, Inc. The Pinkerton Foundation John & Margaret Robson Schlumberger Foundation, Inc. Studio Art Quilt Associates,Inc. Tenneco Tenneco Matching Gifts Program William B. Dietrich & William B. Dietrich Foundation One anonymous donor

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Unilever United States Foundation, Inc. The William P.& Gertrude Schweitzer Foundation, Inc. Two anonymous donors $3,999—$2,000 Dr. Charles L. Abney Jr. Bergen Line,Inc. Ellen Blissman Mr.& Mrs. Sheldon Bonovitz Robert & Kathy Booth Mr.& Mrs. Richard H. Bott Richard Braemer & Amy Finkel Marvin & Lois P. Broder Edward J. & Margaret Brown Chris Butler Joseph & Barbara Cohen Columbia University Community Concerts Mr.& Mrs. George Contos Mr.& Mrs. Edgar M.Cullman Allan & Kendra Daniel Richard M.& Peggy Danziger Michael & Janice Doniger Nancy Druckrnan Duane, Morris & Heckscher T.J. Dermot Dunphy John Farber & Wendyll Brown Burton & Helaine Fendelman in memory of Ellin Ente Scott & Lauren Fine Fortress Corporation Fred Leighton, Ltd. Jay & Gail Furman (continued on page 64)

BOOKS

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he following recent titles are available at the Museum of American Folk Art Book and Gift Shop,2 Lincoln Square, Columbus Avenue at 66th Street, New York City. To order, please call 212/496-2966.

Museum members receive a 10 percent discount.

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The American Art Book, Megan McFarland and Jay Tobler, eds., Phaidon Press, 1999,512 pages, hardcover, $39.95 American Folk Marquetry: Masterpieces in Wood, Richard Mtihlberger, Museum of American Folk Art, 1998,240 pages, hardcover, $65 The Art ofNellie Mae Rowe: Ninety-Nine and a Half Won't Do, Lee Kogan, Museum of American Folk Art/University Press of Mississippi, 1998, 112 pages, hardcover, $30 Backyard Visionaries: Grassroots Art in the Midwest, Barbara Bradman and Cathy Dwigans, eds., University Press of Kansas, 1999, 146 pages, hardcover, $39.95 Bill Traylor(1854-1949), Deep Blues, Josef Helfenstein and Roman Kurzmeyer, eds., Yale University Press, 1999, 192 pages, paperback, $29.95 Dwight Mackintosh: The Boy Who Time Forgot, John MacGregor, Creative Growth Art Center, 1990,96 pages, paperback, $12.00 The End Is Near! Visions of Apocalypse, Millennium and Utopia, Roger Manley, Dilettante Press, 1998, 192 pages, hardcover,$55, paperback, $34.95

Glorious American Quilts: The Quilt Collection ofthe Museum ofAmerican Folk Art, Elizabeth V. Warren and Sharon L. Eisenstat, Museum of American Folk Art/Penguin Studio, 1996, 203 pages, hardcover, $34.95

Slotin Folk r Auctio Atlanta, GA November 13 & 14

The Kingdoms ofEdward Hicks, Carolyn J. Weekley, Abrams, 1999, 312 pages, hardcover, $39.95 Little by Little: Six Decades of Collecting American Decorative Arts, Nina Fletcher Little, SPNEA/University Press of New England, 1998, 308 pages, paperback, $35 Matriarchy: Freedom in Bondage, Malcolm McKesson, Heck Editions, 1997, 191 pages, paperback,$14.95 Outsider Art ofthe South, Kathy Moses, Schiffer Publishing, 1999, 240 pages, hardcover, $59.95 Private Worlds: Classic Outsider Artfrom Europe, John Beardsley and Roger Cardinal, Katonah Museum of Art, 1998,48 pages, paperback,$20 A Quiet Spirit: Amish Quiltsfrom the Collection of Cindy Tietze and Stuart Hodosh, Donald B. Kraybill, Patria T. Hen-, and Jonathan Holstein, UCLA Fowler Museum of Cultural History, 1996, 232 pages, paperback,$35 A Silent Voice: Drawings and Constructions ofJames Castle, Fleisher/011man Gallery, 1998, 54 pages, paperback, $15 Wonders to Behold: The Visionary Art ofMyrtice West, Carol Crown,ed., Mustang Publishing, 1999, 144 pages, hardcover, $50

Self-taught Art • Anonymous Works Southern Folk Pottery • Outsider Art African-American Decorative Arts

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Wonders to 3ehold: The Visionary Art of Myrtice West Edited by Carol Crown Working in obscurity in rural Alabama for seven years, Myrtice West painted the entire Book of Revelation in 13 large paintings. Exhibited in public only twice, West's Revelation Series is the subject of a new book featuring essays by 17 renowned writers and artists, including Roger Manley, Tom Patterson, Lee Kogan, Charles Rosenak, Rebecca Hoffberger, Howard Finster, and Ann Oppenhimer. The definitive work on Myrtice West and apocalypticism among self-taught artists, Wonders to Behold will appeal to anyone fascinated by visionary art and the current furor about the new millennium.

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The Folk Art Society

THE JEAN LIPMAN FELLOWS 1999 Co-Chairs Jerry & Susan Lauren Roger Ricco & Frank Maresca 1999 Fellows Patrick Bell & Edwin Hild Mary Benisek & Don Walters Edith Brisldn Edward J. & Margaret Brown Nancy Druckman Peter & Barbara Goodman Tracy Goodnow Barbara L. Gordon Howard M. Graff Ann Harithas Pepi & Vera Jelinek Harvey Kahn Allan Katz

Susan Kleckner Barbara & David ICrashes Eric Maffei Jeff & Anne Miller Keith Morgan John Oilman J. Randall Plummer Paige Rense Selig Sacks Jean S. & Frederic A. Sharf Raymond & Linda Simon Richard & Stephanie Solar Arthur Spector Donald & Rachel Strauber David Teiger Sini von Reis Irwin H. & Elizabeth V. Warren One anonymous donor

Day at Morehead October 9, 1999

Kentucky Folk Art Center 102 West First Street Morehead, Kentucky 40351 Phone: 606/783-2204

RECENT DONORS TO THE COLLECTIONS Gifts Briskin Family Fund Ralph 0. Esmerian Sam & Betsey Farber Josh Feldstein Millie & Bill Gladstone Vera & Pepi Jelinek N.F. Karlins

Ray Kass & Jerrie Pike The Lipman Family Foundation in honor of Jean & Howard Lipman Edward A. McCabe Dorothea & Leo Rabkin Linda & Ray Simon Martha Detert Walbolt

A Museum of American Folk Art Publication American Folk Marquetry: Masterpieces in Wood is the first definitive, full-scale examination of the history and makers of folk marquetry in America.

240 pages • 156 color plates •9 x 101/2in. hardbound $65 • 10% discount for Museum members.

To order, call the Museum's Book and Gift Shop at 212/496-2966

NI FALL 1999 FOLK ART

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.4, HOWARD FINSTER R.A. MILLER J.B. MURRY MOSE T. NELLIE MAE ROWE And Other Outsider Artists

John Denton 102 Main St., P.O. Box 429 • Hiawassee, GA 30546 (706) 896-4863 5 Fax (706) 896-1212

Saile/iele .c; Proudly Presents

KATHY JAKOBSEN In Addition to the Original Oil Paintings

MAIN STREET

By Kathy Jakobsen Oil on Canvas 17" x 21" 0

GRAND CENTRAL TERMINAL AT NIGHT

By Kathy Jakobsen Oil on Canvas 42" x 66"0

GALLERIE JE REVIENS is Pleased to Offer Both Paintings in a Limited Edition Fine Art Print

Gallerie je Reviens ONE RIVERSIDE AVENUE * WESTPORT,CT 06880 TEL: 203.227-7716 * FAX: 203.227-7758 MARCO D.PELLETIER,DIRECTOR

Folk Art DiieWe have moved to Hobe Sound, Florida (Across from Jupiter Island) Sybil Gibson Alyne Harris "Mama" Johnson Mary Proctor Ruby C. Williams "Yehtac"

Phone: 561-546-2238 Fax: 561-545-3031 www.dixiefolkart.com Email: daveandsuefolds@webtv.net

Warsaw Ghetto Joey Smollon Paint on Stretched Canvas 30"x 30"

Gene Beecher Rodney Hardee Eddy Mumma E.B. Ott Joey Smollon Purvis Young

Purvis Young Paint on Odd Paneling 171/2"x 17"

Elvis "Yehtac" Paint on Panel Board 38"x 25"

Visit Us At The Piccadilly Shows, West Palm Beach, FL

Southern Contemporary Folk Art Focused on Florida

AMERICAN STONEWARE COLLECTORS "AUCTION AND APPRAISAL SERVICES"

AMERICNS OLDEST MAKERS OF COLONIAL AND EARLY AMERICAN LIGHTING FIXTURES

AUTHENTIC DESIGNS Richard C. Hume P.O. Box 281 Bay Head, N.J. 08742 732-899-8707

68 FALL 1999 FOLK ART

Carl VVissler 2015 Lilitz Pike Lancaster, PA. 17601 717-569-2309

17 The Mill Road West Rupert, Vermont 05776 (802) 394-7713 Catalogue $3.00

Vie Beaver" 'Wow" — The Millennium Is About Here —

The City of Oldsmar, Florida has established a "Robyn the Beaver" Beverland Memorial Fund for the construction of a new Public Art Learning Center for Children, and for housing arts of all generations.

WANDA'S QUILTS P.O. Box 2012• Oldsmar, Florida 34677

(813) 855-1521 • E-Mail: Irish@kcii.com

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

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

Country Folk Art Festival "Unparalled Traditional Craftsmanship" Judy Marks, Box 134, Glen Ellyn, IL 60138 (630)858-1568â&#x20AC;˘fax:(630)858-4568

Maine Antique Digest wrote...

Cl the phrase '1998's Most Exciting New Event' ...more than lived up ,, to its advanced billing The Newtown Bee wrote... a triumphant success ... an unsurpassed artistic achievement

October 15, 16, 17, 1999 Fri. Oct.15th, 6pm - 10pm. Adm. $7.00 Sat. Oct.16t", 10am - 6pm, Adm. $6.00 Sun. Oct.17m, 11am - 5pm, Adm. $6.00 Travel & Lodging Information:(508)460-3747

ENCORE! ENCORE!

THE ADA HISTORIC DEERFIELD ANTIQUES SHOW OCTOBER 9-10, 1999 DEERFIELD, MA.

70 FALL 1999 FOLK ART

The collector's source for American folk art.

Johnny Ace Minnie Adkins Leroy Almon Butch Anthony Baltimore Glassman Jack Beverland Kata Billups Minnie Black Georgia Blizzard Rudy Bostic Deborah Brezina Berkeley Brown Ree Brown Tubby Brown Virginia BuLiman Richard Burnside Pris Butter Larry Calkins Kacey Carneal Benny Carter Catfish Man Tommy Cheng Raymond Coins Scott Collins CW Connor Ronald Cooper Teresa B. Davis Mamie Deschilles Ran Dorn Brian Dowdall Sam Doyle Fatisha Roy Ferdinand Marvin Finn Howard Finster Michael Finster Roy Finster Connie Firestone Paul Flack Tim Fowler Evelyn Gibson

Sybil Gibson Lee Godie Elayne Goodman Dorethey Gorham Abe Graber Michael Harms Bessie Harvey Mike Nanning Gerald Hawkes Albert Hefner Kristen Helberg Jesse Hickman Blair Hobbs Lonnie Holley Leland Holliday Don Holloway Elwyn Hudson Sylvanus Hudson

Amos Hummell Clementine Hunter James Harold Jennings Jas Johns Rev. Anderson Johnson Sharon Johnson Five Cents Jones Krista M. Jones Leonard Jones S.L. Jones Allan Keller Charlie Kinney Hazel Kinney CM Laster Kelly Laster Ernest Lee Chris Lewallan Eric Longo

Charlie Lucas Will. Luck Anna Lynch Jake McCord Frank McGuigan Sam McMillan Tres Linn-Gregory Stanley Mason Willie Massey Mark Casey Milestone RA Miller Roger Miller Sue Million Roy Minshew Myrtle Panos Matilda Pennic Rev. Ben Perkins

AMERICA*OH,YES!

Frank Pickle Mary Pittman Mary Proctor Sarah Rakes Molly B. Right SuLton Rogers St. EOM Jack Savitsky Lorenzo Scott Robert Frito Seven Steve Shepard Jim Shores Mary T. Smith Norma Smith Robert Smith Bernice Sims Buddy Snipes Lamar Sorrento QJ Stephenson Wesley Stewart Vicki Stone Vannoy Streeter Jimmy Lee Sudduth Carolyn Swain Willie Tarver Nancy Thomas Son Thomas William Thompson John Tooney Annie Tolliver Mose Tolliver LC Van Savage Nancy Valelly Paul Walker Inez Walker Hubert Walters Sabra Wolfe Fred Webster Mytrice West Sharon Yavis Purvis Young And Many More.

If you've got a computer, you've got our gallery.

www.amencaohyes.com For more information, e-mail folkart@hargray.com or write: America Oh, Yes!, P.O. Box 3075, Hilton Head Island, S.C. 29928 Locations: 17 Pope Avenue Executive Park, #4 Hilton Head Island, SC * 2020 R Street, NW, Washington, DC

Arancy 'Weaver Fine & yolk Art Conservator Contemporary yolkArtpotter and-Woodcarver 76 Weaver Road Ph (770)748-7035

Cedartown,GA.30125 Email restorer@mindspring.com

http://www.mindspring.com/â&#x20AC;&#x201D;restorer/restorer.htm

DEALERS' DAY OFF! Intuit INTUIT: THE CENTER FOR INTUITIVE AND OUTSIDER ART

presents...

C0`LieCT-ib'ROMir _ The Intuit Members' Reall Big Deaccession Sale

The 3rd annual event in which Intuit members sell folk and outsider art from their own collections!

SATURDAY, OCTOBER 16 House of Blues Hotel 333 N. Dearborn, Chicago 10 a.m. - 7 p.m.

Benefit preview party Friday, October 15, 6-10 p.m. (including a silent auction of outsider art objects) For more information, contact Intuit at 312.243.9088.

72 FALL 1999 FOLK ART

The Museum of American Folk Art relaunches its Web site this October with an Online Shop stocked with carefully selected merchandise from our popular Book and Gift Shop.

In addition to regularly updated exhibition and program information and a photo gallery featuring highlights of the permanent collection, you can become a Museum member, register for Folk Art Institute courses, and purchase unusual gifts from our extensive catalog of books, accessories, toys, and specialty items for holidays and home decor.

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Credit-card transactions are encrypted for security and privacy, and Museum members receive a 10% discount on all shop items.

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Visit us today!

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NEW YORK STATE

FOLK ART APRIL 1 — DECEMBER 31 •

FENIMORE ART MUSEUM •

New York State Historical Association I 00 Years • 1 8 9 9 - 1 9 9 9 Lake Road, Cooperstown, New York 13326 1-888-547-1450 • www.nysha.org

Marilyn and Joe DiMaggio, ca. 1990, by Malcah Zeldis Funded in part with a grant from the National Endowment for the Arts, a Federal Agency

MUSEUM

BENEFIT

Ir' to celebrate the beginning of the new year, the new century, and the new millennium with the Museum of American Folk Art and the 8th annual Outsider Art Fair!

Thursday,January 27 Puck Building, New York City For more information on the benefit, please contact Jennifer Scott at 212/977-7170 ext. 308, or at specialevents@folkartmuseum.org.

UNTITLED (Three Figures) Mary Tillman Smith (1904-1995) Hazelhurst, Mississippi Late twentieth century House paint on plywood 32 48 Museum of American Folk Art, Blanchard.Hill Collection, gift of M. Anne Hill and Edward V. Blanchard Jr., 1998.10.47

Saturday,January 29 New York University, New York City Sponsored by the Museum of American Folk Art and New York University For more information on the symposium, please contact the Folk Art Institute at 212/977-7170 ext. 340 or at institute@folkartmuseum.org.

FALL 1999 FOLK ART 73

Exhibiting the work of Clyde Angel Dewey Blocksma Francois Burland Doc Atomic Edmond Engel Angela Fidilio Johann Hauser Natasha Krenbol Albert Louden Dwight Mackintosh Michel Nedjar Gene Merritt Marco Raugei Christine Sefolosha Genevieve Seine Sava Sekulic Gerard Sendrey Bill Traylor Oswald Tschirtner Anna Zemankova Carlo Zinelli + many others

JUDY A SAS LOW GALLERY 300 West Superior Street Chicago Illinois 60610 phone 312 943 0530 fax 312 943 3970 www.jsaslowgallery.com jsaslow@megsinet.net

Art Haus Gallery 534 Main St. Beacon, NY 12508

CLYDE ANGEL "He of the Assembly" welded steel, paint and necklace, 22.5"x20"

7r4 ; D04 3( G 1*1111E rilli; .17 13 Re SELF•TAUGHT Featuring: Purvis Young Lonnie Holley Jim Sudduth Thornton Dial Benny Carter Anne Grgich Sybil Gibson

111111.1ERICA it 6***OuTH --"N.Featured Artists Include

David Seehausen www.See-TV.net (914) 430-5085

Reginald Mitchell 4( Herbert Singleton Johnnie Swearingen k Mose Tolliver M.C.54 Jones * Jimmy Lee Sudduth

www•YARDDOG.com 1510 S. Congress Austin, TX 78704 512.912.1613

74 FALL 1999 FOLK ART

the only show of its kind in the world!

4-0

obER-Tki friday noon - 8pm

saturday 11 am - 7pm

sunday noon - 7pm

admission $12, catalog, cafĂŠ, wheelchair accessible

6pm - 9pm

information: 212.777.5218

soho, new york city

lafayette & houston streets symposium: uncommon artists VIII presented by the museum of american folk art and new york university

68 East 7th Street

New York, NY 10003-8499

212.777.5218

saturday january 29 information: 212.977.7170

Fax: 212.477.6490

info(ePsanfordsmith.com

COLLECTORS' ONE•OFA-KIND

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THE SHOE HOUSE 20"L X 14'W X 24"H

COLIN BECKET RICHMOND 3748 BARR ROAD, VERNON CENTER, NY 13477

TEL.(315) 363-3512

St. Madeleine Sophie's Center SERVING ADULTS WITH DEVELOPMENTAL DISABILITIES

Holiday Cards Greeting Cards Prints Original Art

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310)456,3677 w 888.8i-16.8677 bob_dawn@topsgallery.com v www.topsgallery.corn

76 FALL 1999 FOLK ART

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Gallery Fanciful Gifts, Creative Furnishings and Lots of Folks Art .3L410 Civic Center Way Malibu, CA 90265

2300

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Hand carved 8, painted sign by Lee Neary

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2119 East Madison Avenue El Cajon,CA 92019 -1111 Phone: 619.442.5129 E-mail: stmsc@stmsc.org Website: www.stmsc.org

WILTON HISTORICAL SOCIETY CELEBRATION OF AMERICAN CRAFTSMANSHIP November 13 - 14, 1999 Wilton High School Field House Wilton, Connecticut

AMERICAN CRAFTSMANSHIP at its best...

Traditional crafts, folk art and fine furniture WILTON, the

acclaimed venue for the finest in collector-quality traditional and contemporary folk art and hand crafted furniture, supports the talented artisans of today who are keeping alive the folk crafts of the past.

This exciting show features the work of 150 artists-craftsmen who are creating objects for the home, unique gifts and holiday specialties, handsomely presented. Comprehensive in its offerings, with quality as its keynote, it is the most impressive show of its type in the nation.

Managed by Marilyn Gould

EARLY BUYING: SATURDAY 8-10 AM, $20.00 PER PERSON A unique opportunity to take advantage of wholesale ordering or retail buying before crowds fill the floor.

GENERAL ADMISSION: $7 PER PERSON,$6 WITH THIS AD.

ONLY 50 MILES FROM NEW YORK CITY • Merritt Parkway: Exit 39B from the West; Exit 41 from the East • 1-95: Exit 15, North 8 miles • 1-84: Exit 3, South 12 miles • Metro North Railroad: To Cannondale Station

Wilton Historical Society, 249 Danbury Road, Wilton, Conn. (203)762-7257

MUSEUM

REPRODUCTIONS

PROGRAM

ALICE J. HOFFMAN

American Pacific "Feathered Box" bedcover MUSEUM OF AMERICAN FOLK ART COLLECTION

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

New Directions The Museum welcomes its newest licensee: *Fotofolio Post it! Fotofolio, the innovative creator of art postcard books and wooden postcards, is our newest licensee.

Contemporary and traditional folk art images from the Museum's permanent collection will soon be available for posting friends and relatives or just for collecting.

Future products will include boxed note cards and magnet kits.

Newsfrom Museum Licensees Share our legacy; look for new products from our family of licensees, featuring unique designs inspired by objects from the Museum's collection. *American Pacific Enterprises Twenty-four hours straight! From August 9 at 12:00 A.M. through August 10 at 12:00 A.M., millions of viewers were treated to a Today's Special Value on QVC featuring "Heritage Star" from the Museum's bedding collection.

Elizabeth Warren, the Museum's quilt expert and consulting curator and the author of Personality Decorating and American Country, appeared throughout the day to share product information, pattern history, and decorating tips.

During an hour-long Museum program, she introduced five new designs and welcomed back two all-time favorites. We hope you had a chance during this 24-hour marathon to see the products, learn something new, and pur-

7111 FALL 1999 FOLK ART

chase some of your favorites. We'd like to hear from you if you saw this program. Please call or write with your comments. *Mary Myers Studio A Peaceable Kingdom...the devil beware! Just in time for the new millennium, Mary Myers created a "Peaceable Kingdom" set of 16 wooden ornaments and a devil nutcracker for the Museum's collection. A special-edition "Father Time"features a year 2000 banner. *Takashimaya Co.,Ltd. A celebration! Next year marks a special celebration for the Museum and Takashimaya in honor of the long-standing relationship between us that began in 1982.

Twenty-nine "Master" quilts from the Museum's collection, along with 20 full-color photographs of the Amish people and a selection of Amish objects, will travel to five Takashimaya stores in Japan.

The full story of this event will be featured in the spring column.

Dear Customer Your purchase of Museumlicensed products directly benefits the exhibition and educational activities of the Museum. Thank you for participating in the Museum's continuing efforts to celebrate the style, craft, and tradition of American folk art. If you

have any questions or comments regarding the Museum of American Folk Art CollectionTm, please contact us at 212/977-7170.

Family of Licensees AMCAL,Inc.(800/824-5879) year 2000 calendar.* American Pacific Enterprises (415/782-1250)quilts, shams, and pillows.

Carvin Folk Art Designs,Inc.(212/7556474)gold-plated and enameled jewelry.* Concord Miniatures(800/888-0936) 1"-scale furniture and accessories.* Fotofolio (212/226-0923) art postcard books, wooden postcards, boxed note cards, and magnets.* Galloon (212/354-8840)boxed note cards.* Gallery Partners(718/797-2547)scarves and ties.* Graphique de France (800/444-1464) note cards.* Hermitage des Artistes (212/243-1007)tramp art objects.* Imperial Wallcoverings,Inc.(216/464-3700) wallpaper and borders. Limited Addition (800/2689724)decorative accessories.* Mary Myers Studio(800/829-9603) wooden nutcrackers, nodders, and tree ornaments.* Museum Masterpieces, Ltd.(617/923-1111) note cards, "notelets,"jigsaw puzzles,journals, and gift bags.* Salamander Graphix,Inc.(800/4515311) umbrellas, gifts, and accessories.* Syratech Corporation (617/561-2200)holiday and decorative home accessories.

Takashimaya Company,Ltd.(212/3500550) home furnishings and decorative accessories (available only in Japan). Tyndale,Inc. (773/384-0800)lighting and lamp shades.

Wild Apple Graphics,Ltd.(800/756-8359) fine art reproduction prints and posters.* *Available in the Museum of American Folk Art Book and Gift Shop. For mail-order information, please call 212/496-2966.

Mary Myers Studio

MUSEUM OF AMERICAN FOLK ART COLLECTION

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Inspired by nineteenth century designs from the Museum of American Folk Art's collection of over 400 quilts.

American Pacific Enterprises, Inc. 222 Columbus Ave. San Francisco, CA 94133 415.782.1250 I

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Face Jug BurIon Craig Charlie Lisk Billy Ray Hussey Stacy Lambert Lucien Koonce Kim Ellington Marie Rogers Jim Havner Steven Abee Joe Reinhardt Walter Fleming Roger Hicks

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2 6 2civ, 6 6to Select 6 .v.1 6 i Southern . ,i 0. $ . .4 Pottery t V 6 LYNN MELTON 1t 6 r 6 P.O Box 10152 Greensboro NC 27404-0152 o 6 6 * a:

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MUSEUM OF AMERICAN FOLKART EVA AND MORRIS FEE D CA LEERY AT LINCOLN SQUARE

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Now you can help raise money for the Museum of American Folk Art simply by making a purchase with your No-Annual-Fee Museum of American Folk Art Gold MasterCard, Every time you make a purchase with your No-AnnualFee Museum of American Folk Art Gold MasterCard, MBNA America® Bank, the card's issuer, makes a contribution to support the Museum of American Folk Art. Your No-Annual-Fee Museum of American Folk Art card also benefits you in a big way with credit lines up to $50,000 and up to $500,000 Common Carrier Travel Accident Insurance on charged fares, The Museum of American Folk Art card features ...

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80 FALL 1999 FOLK ART

Mike Smith A At Home Gallery 3916 Pondifleld Court Greensboro, North Carolina 27410 AtHome98@aol.com www.athomegallery.com

Museum of American Folk Art Gold MasterCard today!

Call 1-800-847-7378 TTY users, call: 1-800-833-6262 Please mention priority code FDNI when you call.

There are costs associated with the use of this card. You may contact the issuer and administrator of this program, MBNA America Bank, to request specific information about the costs by calling 1-800-847-7378 or writing to P.O. Box 15020, Wilmington, DE 19850.

'Certain restrictions apply to this benefit and others described in the benefits brochures sent soon after your account is opened.

MBNA and MBNA America are federally registered service marks of MBNA America Bank, N.A. MasterCard is a federally registered service mark of MasterCard International Inc., used pursuant to license. © 1997 MBNA America Bank, N.A. ADG-H-5 ADG 8 4 97 ADG-OAAB-8/97

WEATHERVANE FOLK ART TOM WELLS 324 MAIN STREET THOMSON GEORGIA 30824 706-595-1998

706-597-0899

VISIT OUR WEBSITE AT www.weathervanetolkturteom

JAKE MeCORD DONNA WILSON EARNEST LEE LBARMSTRONG WILLIE JINKS LEONARD JONES RALPH GRIFFIN WILLIE TARVER S.C.HUDSON MOTHER AND MANY OTHER ARTISTS 4

Museum Charlotte Zander SchloB Bannigheim

New York's Largest Antiques Show!

TRIPLE PIER EXPO Over 600 Different Exhibits Each Weekend

NOV. 13-14 & 20-21 PIER 88 PIER 90 PIER 92 Sat.11-6, Sun. 11-7 Sat.94,Sun.11-5 Sat. 10-6, Sun. 11-6 Includes 18th Century to 1970's Art & Artifacts, Furniture, Folk Art, Silver, Porcelains, Paintings, Prints & Posters, Pottery, Textiles, Toys, Deco, Moderne, Kitchen, Kitsch, Vintage Fashions, Statuary, Art Glass, Asian, Americana. Jewelry, Garden. Architectural, Rustic & More.

PASSENGER SHIP

Camille Bombois (1883-1970) March 30' - October 24th, 1999 First encounter with Russian Na誰ve Art October 31st - March 12', 2000

TERMINAL PIERS

88, 90 & 92 48TH TO 55TH STREET AND 12TH AVENUE, NEW YORK CITY ADMISSION $12

STELLA SHOW MGMT. CO. 212-255-0020 www.stellashows.com

HauptstraBe 15, D-74357 Bonnigheim, Germany Tel. 07143-4226 Fax.07143-4220 Opening Hours: Tuesday-Sunday 11 a.m. - 3 p.m.

FALL 1999 FOLK ART 81

MUSEUM

NEWS

CRAIG FARROW COMPILED BY TANYA HEINRICH

Cabinetmaker

Annual Brazer Lecture, Institute Commencement,and Docent Awards n June 7,the Museum presented the annual Esther Stevens Brazer Memorial Lecture on the occasion of the Folk Art Institute's commencement exercises. Brazer was an author and teacher who singlehandedly fostered a renewed appreciation for the historic tradition of American painted decoration. Elisabeth D. Garrett, senior vice president of Christie's, presented an engaging and highly informative lecture,"Domestic Detail: Folk and Art at Home in Early America."

This year's graduating fellow was Deborah Lyttle Ash,a tireless Folk Art Institute volunteer and an ardent and enthusiastic writer and researcher with a special interest in 18th- and 19thcentury female folk artists. Her commencement was chaired by Lee Kogan, director of the Folk Art Institute, and the certificate was awarded by Trustee Frances Sirota Martinson Esq. The Museum's terrific crew of docents was recognized for their loyal service as well. Dale Gregory, gallery director, and Arlene Hochman,docent coordinator, presented awards to 10-year docents Mercedes Bierman,Debbie Dunn, Joyce Eppler, Nancy

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Fischer, Millie Gladstone, Arlene Hochman, Barbara Klinger, Ada Lyttle, Miriam Nadel, Susan Oostdyk, Gertrude Quinn,Jeanne Riger, Marilyn Schwartz, Sara Snook, and Lynn Steuer; sevenyear docents Louise Kaminow Graduate Deborah Lyttle Ash with her mother, Evelyn Lyttle

1999 Esther Stevens Brazer Memorial Lecturer Elisabeth D. Garrett

and Marion Shapin; five-year docents Candy Martinez and Diane Rigo; and three-year docents Marie Annoual, Roberta Gaynor, Nancy Greenberg, Shirley Lindenbaum, Anne Martocci, and Frayda Pitkowsky.

Web Site To Relaunch with Online Shop n October, the Museum will present its revamped Web site featuring an exciting E-commerce component stocked with carefully selected merchandise culled from our popular Book and Gift Shop. With a slight change of format and address, the new site also includes regularly updated exhibition and programming information and a rotating selection of images for in-depth perusal of the highlights of the permanent collection. Become a

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

82 FALL 1999 FOLK ART

Please call 203-266-0276

Museum member online, register for Folk Art Institute courses, and purchase special and unusual gifts from our extensive catalog of books, accessories, children's toys, and items for holidays and home decoration. Credit-card transactions are encrypted for security and privacy, and Museum members receive a 10 percent discount on all shop items. Visit us online at www.folkartmuseum.org!

AMOS FERGUSON Art, Food, and Song for the Soul he final round of special programs accompanying the Museum's exhibition "The Art of Nellie Mae Rowe: Ninety-Nine and a Half Won't Do"took place in late April and early May with an uplifting hour of gospel music, a lively discussion with renowned chef Edna Lewis, and two receptions for leaders in the African American community.

On April 22, the Chancel Choir of the Abyssinian Baptist Church in Harlem presented a deeply moving concert of gospel music. Spiritual power was evi-

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the Museum. Lewis champions the deceptively simple southern home cooking and helped to reawaken the culinary community to the goodness of American cuisine and the use of regional and seasonal produce. The talk was offered as a companion to the exhibition, providing another channel to the region and culture that informed Rowe's work.

As part of its ongoing commitment to community outreach, the Museum held special exhibition receptions for three prominent African American organizations.

On April 16, Museum friend Gail Edna Lewis

"The Kiss", enamel on board, 30x36, 1970

Galerie Bonheur

Madeleine Moore (left) and curator Lee Kogan discussing the work of Nellie Mae Rowe at the One Hundred Black Men, Inc./New York Coalition of 100 Black Women reception

Left to right: dent in the strength of Leon Eastthe singers' voices, mond, Luther which soared through R. Gatling, Howard Rubenthe Museum space. stein, and Dr. The finale was a rous- Eugene Callender ing rendition of "Ninety-Nine and a Half Won't Do," a favorite hymn of Nellie Mae Rowe's, which epitomized the artist's values. Choir director Jeff Bowling's improvisation on its words was a true inspiration.

On April 29, author Jessica B. Harris interviewed Edna Lewis and her partner, Scott Peacock, on the topic "Southern Traditions and the Taste of Country Cooking" at

International Folk Art since 1980 Laurie Carmody

Left to right: Museum Director Gerard C. Wertkin, Gail Wright Sirmans Esq., Trustee Kristina Johnson Esq., and Renaye Cuyler Esq., at the National Bar Association reception

Wright Sirmans and the Metropolitan Black Bar Association hosted a reception and exhibition viewing for the National Bar Association on the occasion of its 19th annual midyear conference.

And on May 12,the Museum's board of trustees, Luther R.

By appointment: 314-993-9851 Fax : 314-993-9260 Email : gbonheur@aol.com Mailing address: 10046 Conway Road St. Louis, MO 63124 PHOTOS upon request Milton Bond, Rita Hicks Davis, Mamie Deschillie, Amos Ferguson, Sybil Gibson, Haitian Art & Masters, Ralph Aufder Heide, Justin McCarthy, Nikifor, Jack Savitslcy, Lorenzo Scott, Fred Webster, Mary Whitfield, Malcah Zeldis, and many others. *Exhibiting at the Outsider Art Fair and the National Black Fine Art Show, New York

FALL 1999 FOLK ART 83

MUSEUM

NEWS

Gatling, Madeleine Moore,and Howard Rubenstein hosted a private viewing for One Hundred Black Men,Inc., and the New York Coalition of 100 Black Women.The lively and crowded affair attracted many leaders in the African American community, who responded enthusiasti-

cally to the work of Nellie Mae Rowe. Remarks were delivered

by Moore, president of the New York Coalition of 100 Black Women,who spoke of keepers of the American culture, and by Gatling, president of One Hundred Black Men,Inc., who talked of"magnificent obsession."

CAROUSEL RABBIT The inspiration for this pin came from a hand carved and painted carousel figure(c.1900)by an unknown artist in New York or Philadelphia.

This pin is available in the Museum of American Folk Art Book and Gift Shop, New York

CARYIN FOLK ART DESIGNS,INC.

Americus Group Welcomes New Leadership t the end of the Americus Group's successful inaugural year, Alexis Shein Contos stepped down to let new leadership take the reins. The Museum of American Folk Art and the Americus Group thank Contos for all of her hard work and perseverance in getting the Americus Group off the ground and for planning many successful activities.

Terry Dale has accepted the role of 1999-2000 Americus Group chair. Dale is an avid collector of everything from tramp art to Indian clubs and is vice president for corporate relations at the New York Convention and Visitors Bureau. Paul Reiferson has accepted the role of vice chair.

Reiferson, an enthusiastic collector of baseball-related folk art, has recently moved to Connecticut and works with Blavin and Company. Both Dale and Reiferson come to their positions with great enthusiasm and creativity.

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A primary goal for the Americus Group in 1999 is fund-raising; Dale and Reiferson will be joined by one of the Americus Group planning committee's newest members,Lisa Prince Shorter, in organizing a gala benefit. Contos will remain active with the Americus Group as a part of the junior committee for the Fall Antiques Show; she will be joined by Trisch Garthoeffner and Shorter.

Joining Deborah Bush on the 2000 Outsider Art Fair junior committee will be Andrew Min and Deborah Boyer. Chuck Burgess will chair the newsletter committee and Lauren Rollick continues as chair of the Sneak a Peek committee.

If you have ideas for events and/or would like to be a part of the Americus Group planning committee, please contact Jennifer Scott at the Museum's administrative offices (212/977-7170 ext. 308)or at jscott@follcartmuseum.org.

Girls on the Run n April 6, the Museum's Contemporary Center and Farrar, Straus & Giroux hosted a reading, book signing, and reception at the Museum on the occasion of the publication of Jon Ashbery's "Girls on the Run," a book-length poem inspired by the fantastical

0 84 FALL 1999 FOLK ART

paintings of self-taught artist Henry Darger(1892-1972).

"Hem)'Darger: The Unreality of Being" was on view at the Museum in 1997. Ashbery's ambitious poem creates a similar childlike, adventurous world of dreamy landscapes, lurking terror, and veiled eroticism.

LIE TOLK TALLERY

Catching Brass Rings s part of the Museum's three-year-old "Come to the Carousel" program, 22 first-grade students from nearby P.S. 191 capped off the project with a joyous visit to the restored carousel in Central Park in June. The program, designed to help young students build language and reading skills, incorporates visits to the Museum with storytelling, art workshops,journal keeping, and field trips.

Museum staff members and interns worked closely with

A

teacher Valerie Jackson and her class. Each student "adopted" a favorite carousel animal, and the class developed a book of illustrated poems inspired by their research and responses. The program is supervised by educational consultant Janice Haynes and Joan Sandler, the Museum's director of education, and is generously funded by Vira Hladun Goldtnami.

LOUISIANA

ART

First-graders from P.S. 191 riding the carousel lit Central Park

FUNERAL WAKE 18"x24"

by Clementine Hunter

a

Works by 46 celebrity artists.

The gallery features paintings, carvings, miniatures, photos and sculptures.

The Folk Art Bake-Off he Museum staff and volunteers are proud recipients of a $1,000 runner-up prize in the Betty Crocker Bake Sale Competition. Earlier in the year, General Mills invited nonprofit organizations throughout the nation to conduct a bake sale and document it with photographs, recipes, and tips for success. The competition was held in celebration of the 50th anniversary of Betty Crocker cake mix, and all participants were encouraged to use Betty Crocker cake mixes in their recipes.

The Museum's bake sale was coordinated by Membership Director Beth Bergin. The tasty offerings of eight plucky staff members had a decidedly imaginative folk art theme, with many desserts invoking design elements familiar to us all. Hearty thanks

T

go to participants Wendy Barreto, Beth Bergin, Susan Conlon, Christopher Cappiello, Rosemary Gabriel, Kathy Maqsudi,Lynn Steuer, and Mary Thomas,and to all those who contributed their earnest appetites. The award and proceeds from the sale will help support the Museum's library.

Featuring Todd W. Williams

Camila Geautreaux

Charles Gillam

Sylvia Barker

May Kugler

"Babs" Barbara Muscutt

Clementine Hunter

"Ruebarb" Barbara Howlett

Willie White

Mis Mardranne

Jacquelyn Hughes Mooney

Alfred Nobles

Andrew Hopkins

Jacob Watts

"Big Al" Taplet

Rosemary Louis

Marsha Ercegovic

Raymonde Fox

Adele Elliott

Michael Creese

*Portion of all proceeds to benefit Louisiana Special Olympics

636 St. Ann St. New Orleans, LA 70130 (504)598-FOLK and 581-FOLK Staff members and bakers extraordinaire, from left to right: Beth Bergin, Rosemary Gabriel, Christopher Cappiello, Mary Thomas, Kathy Maqsudi, Susan Conlon, and Wendy Barreto

www.folkartgallery.net todd@folkartgallery.net

FALL 1999 FOLK ART 115

FALL

PROGRAMS

Unless otherwise specified, all programs are held at the Museum of American Folk Art/Eva and Morris Feld Gallery,2 Lincoln Square, Columbus Avenue at 66th Street, New York City; programs are open to the public, and admission is free. For more information, please call 212/595-9533.

QUILT WEEKEND Friday,Sept. 24 10:00 A.M.-4:00 P.M. Workshop:"The Amish Quilt Square" Rachel Pellman, quilt artist Museum classroom, 555 West 57th Street, 13th floor Workshop fee $85; materials fee $15

Apache tray, 211 / 2" dia., early 20th century

JOHN C. HILL ANTIQUE INDIAN ART 6962 E. 1st Ave. Scottsdale, Arizona 85251 (480)-946-2910

Saturday,Sept. 25 10:00 A.M.-12:00 P.M. Lecture:"The Amish and Their Quilts" Elizabeth V. Warren, exhibition curator 1:00-5:00 P.M. Afternoon Quilt Demonstrations Metropolitan-area quilt guilds

SUSAN SLYIVIAN

THE COLLECTOR'S VOICE Thursday, Oct. 14 6:00 P.M. A panel of collecting couples will discuss the origin and development of their collections.

Moderator: Gerard C. Wertkin, director Please call the Folk Art Institute at 212/977-7170 for reservations—space is limited.

email: antqindart@aoLcorn

WORKS BY

SUNDAY AFTERNOON CHILDREN'S WORKSHOPS Oct.3, 17,31; Nov. 14,28; Dec. 12 2:00-4:00 P.M. For children ages five and up; reservations required Materials fee: $1.00 Come join us and use colorful materials and a variety of items to make all kinds of wonderful creations!

"Beyond the Square: Color and Design in Amish Quilts" and related programs are made possible by support from Philip Morris Companies Inc. TRAVELING

EXHIBITIONS

Mark your calendars for the following Museum of American Folk Art exhibitions when they travel to your area during the coming months: June 3—Sept. 12, 1999 The Art of Nellie Mae Rowe: Ninety-Nine and a Half Won't Do The National Museum of Women in the Arts Washington, D.C. 202/783-5000

CAN BE SEEN AT

FRANK J. MIELE CONTEMPORARY AMERICAN FOLK ART 1086 MADISON AVENUE NEW YORK, N.Y. 10028 212.249.7250

GALLERIE JE REVIENS ONE RIVERSIDE AVENUE WESTPORT CT. 06880 203.227.7716

86 FALL 1999 FOLK ART

Oct. 1, 1999—Feb.6,2000 An American Treasury: Master Quilts from the Museum of American Folk Art The Toledo Museum of Art Toledo, Ohio 419/255-8000

Nov. 20, 1999—Feb. 26, 2000 The Art of Nellie Mae Rowe: Ninety-Nine and a Half Won't Do High Museum of Art Folk Art and Photography Galleries Atlanta, Georgia 404/577-6940 Mar. 18—May 14, 2000 The Art of Nellie Mae Rowe: Ninety-Nine and a Half Won't Do African American Museum Dallas, Texas 214/565-9026

For further information, please contact Judith Gluck Steinberg, coordinator of traveling exhibitions, Museum of American Folk Art,555 West 57th Street, New York, NY 10019-2925, 212/977-7170.

MUSEUM

NEWS

att acAtiziartzt ESTABLISHED 1973

Registrar's Choice useum Registrar AnnMarie Reilly was invited to present a small exhibition of her favorite objects in the Museum's collection for a meeting of the National Association of Corporate Art Managers on June 9. The meeting was held at the Fortress FAE Worldwide storage and packing facility in New York City, where participants enjoyed a tour of Reilly's selection of quilts, sculptures,furniture, and paintings on display in a 2,000-square-foot viewing room. Following the meeting and exhibition viewing, there was a demonstration on proper methods of art handling for shipping and a tour of the

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storage facility of the Chase Manhattan Art Program.

7.1

Tom Pelham, vice president of new product sales, Fortress FAE Worldwide, and Ann-Marie Reilly, registrar, with the Museum's c. 1875 Turk

Lanier Meaders (1917-1998) Signed, Alkaline-Glazed Double Face Jug, 11" high (Other works by Lanier Meaders available)

'Theginest outhemnAolk LArt ANTON HAARDT GALLERY MONTGOMERY, AL (334) 263-54941 NEW ORLEANS ANNEX (504)897,1172 www.antonart.com

5325 Roswell Road, NE â&#x20AC;˘ Atlanta, GA 30342 Phone: 404-252-0485 Fax: 404-252-0359

FALL 1999 FOLK ART 87

MAIN STREET ANTIQUES and ART Colleen and Louis Picek

Folk Art and Country Americana (319) 643-2065 110 West Main, Box 340 West Branch Iowa 52358

9r1, It -

On Interstate 80

Send a self-addressed stamped envelope for our monthly Folk-Art and Americana price list

INDEX

TO

1960's, 50th Anniversary Portrait Busts

ADVERTISERS

Allan Katz Americana 15 America Oh, Yes! 71 The American Folk Art Gallery 10 American Pacific 79 American Primitive 8 American Stoneware Collectors 68 The Ames Gallery 30 Antique Dealers of America 70 Anton Haardt Gallery 87 Art Haus Gallery 74 At Home Gallery 80 Authentic Designs 68 Carvin Folk Art Designs, Inc. 84 Cavin-Morris Gallery 2 Christie's 16 Country Folk Art Festival 70 Country Living Inside Back Cover Craig Farrow 82 David Wheatcroft 24 Dean Jensen Gallery 19 Dixie Folk Art 68 Epstein/Powell 64 Back Cover Fleisher/011man Gallery The Folk Art Gallery 85 The Folk Art Society of America 34 Galerie Bonheur 83

88 FALL 1999 FOLK ART

Gallerie Je Reviens Garde Rail Gallery Gilley's Gallery Ginger Young Gallery Grey Carter Objects of Art Hill Gallery Hypoint Intuit J. Crist John C. Hill John Denton Judy A. Saslow Gallery June Lambert Kentucky Folk Art Center Knoke Galleries K.S. Art The LaRoche Collection Laura Fisher Main Street Antiques and Art MBNA America Museum Charlotte Zander Mustang Publishing Nancy Weaver New York State Historical Association Olde Hope Antiques, Inc. The Pardee Collection

67 64 22 31 19 13 84 72 3 86 66 74 36 66 87 21 7,9 20 88 80 81 65 72 73 17 31

Raccoon Creek Antiques 34 Ricco/Maresca Gallery Inside Front Cover Rosehips Gallery 32 Sanford L. Smith & Associates 37,75 Select Southern Pottery 80 Shelton Gallery 32 Sidney Gecker 26 Slotin Folk Art Auction 63 Sotheby's 14 St. Madeleine Sophie's Center 76 Stella Show 81 Steve Miller 1 Susan Slyman 86 Tops Gallery 76 Tracy Goodnow 27 Tucker Station Antiques 33 Walters/Benisek 4 Wanda's Quilts 69 Weathervane Falk Art 81 Webb Gallery 23 William Peltier 26 Wilton Historical Society 77 Windtoys 76 Yard Dog 74

AMERICA'S SOURCE FOR FOLK ART AND ANTIQUES A

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Defining their Times Masterworks by 20th Century Self - Taught Artists September 29 til October 30, 1999

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FLEISHER OLLMAN GALLERY 211 S. 17th Street Philadelphia 1 9 1 0 3 (215)545.7562 (Fax)545.6140

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