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EUM * FALL 2001 * $6.00





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\?ERSONi 529 West 20th Street Third Floor New York New York 10011 Tel 212.627.4819 Fax 212.627.5117 E-Mail


HORSE PULL TOY OF HEROIC PROPORTIONS Ca. 1900, in original dry polychrome,32"! x 31" h x 7 1/2" w.

17 East 96th Street, New York, New York 10128 Telephone:(212)348-5219, Fax:(212)427-4278, E-mail: Gallery hours are from 1:00 pm until 6:00 pm,Tuesday through Saturday. Other hours are available by appointment.




594 BROADWAY # 205, NEW YORK, NY 10012 (212) 966---1530

Over 20 years of discovering remarkable folk art and works by self taught artists. Assisting in the formation of collections of 19th and 20th century art and antiques. Our base making shop has elevated thousands of works of art and antique objects. Custom mounting of weathervanes and folk art available in wood or metal for table or wall.

Carved snakeform harp 19th c. Length 34 inches

Sandstone host with incised date 1876 ht. 23 inches

JACKIE RADWIN American painted furniture, quilts and folk art

Full-Bodied Copper Weathervane. Original polychrome surface. Circa 1880. Ex Weld collection. 23%2" tall. 23" wide.

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Cover: Detail ofHOLLOW-CUT SILHOUETTE OF A MAN/artist unidentified /probably New England/c. 1835/ cut paper and watercolor on paper; pressed brass supported by a woodframe/ 35/a x 25/a"/American Folk Art Museum, gift ofRobert Bishop, 1985.28.2

Folk Art is published four times a year by the American Folk Art Museum,administrative offices at 555 West 57th Street, New York, NY 10019-2925, Tel. 212/9777170,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 2001 by the American Folk Art Museum,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 American Folk Art Museum. 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 formic by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages. The Museum is dedicated to the exhibition and interpretation of folk art and it is a violation of its principles to be involved in or to appear to be involved in the sale of works of art. For this reason, the Museum will not knowingly accept advertisements for Folk Art that illustrate or describe objects that have been exhibited at the Museum within one year of placing an advertisement.




































inners all! One year ago, the Museum announced "Quilted Constructions: The Spirit of Design," an international quilt contest to salute the opening of the Museum's new building. The official rules stated that the contest was open to all living artists worldwide; that the quilts be within a specified size range; that they be the original design of the entrant and not an adaptation; and that they be the work of one person. Quiltmakers from twenty-six states and twelve countries—winners all—submitted their work. Fifteen dazzling quilts were chosen; each will be displayed in the Museum's Eva and Morris Feld Gallery from September 14, 2001,through January 13, 2002, and they are all reproduced here, starting on page 20. Constructions of a whole other kind are the creations of Hawkins Bolden, a self-taught artist from Memphis, Tennessee. J. Scott Ogden, who is working on a film documentary about self-taught artists, spent some time with Hawkins Bolden and shares his impressions of the man and his work with us. Many of Bolden's sculptures—constructions made mostly offound objects—were intended to be scarecrows to keep birds out of his yard. He began sometime during the 1960s to fill his small garden with his sculpture, and it wasn't long before the "scarecrows" outnumbered the plants they protected. Ogden's wonderfully illustrated essay begins on page 32. Starting on page 40, we take you in a third direction—completely away from art quilts and folk sculpture—back into the world of silhouette portraits. In the early 1800s, with photography a long way from being practical, a silhouette was the quickest, most economic way of obtaining a credible image of a loved one or friend. Vincent DiCicco is an impassioned collector of hollow-cut silhouettes. His essay,"Silhouette HOLLOW-CUT SILHOUETTE OF A GIRL Portraiture in America: A Fully Artist unidentified Developed Form of Folk Expression," Probably New England c. 1935 traces this art form from its beginCut paper and watercolor on paper; stamped brass nings to its pinnacle, fifty years later, supported by wood frame by exploring the work of specific 3*.. 21 / 4" Collection of the American Folk Art Museum, gift of artists such as William Chamberlain, Robert Bishop, 1985.28.4 James Hosley Whitcomb,and an unidentified artist known only as the "Puffy Sleeve Artist." DiCicco's essay is intriguing and beautifully illustrated with little gems. I hope you enjoy this issue and I look forward to meeting up with you again in December. In the meantime, we are gearing up for the last leg on ourjourney to our new home,and the next issue of Folk Art will tell it all. I hope you are anticipating it as much as we are.


AMERICAN FOLK ART MUSEUM PUBLICATIONS/FOLK ART Rosemary Gabriel Director ofPublications/Editor and Publisher Tanya Heinrich Exhibition Catalog and Book Editor Sarah J. Munt Production Editor Candie Frankel Copy Editor Katharine Clark Assistant Editor Jeffrey Kibler, The Magazine Group, Inc. Design John Hood Advertising Sales Mel Novatt Advertising Sales Craftsmen Litho Printers

Administration Gerard C. Wertldn Director Susan Conlan Assistant to the Director Riccardo Salmona Deputy Director Jane A. McIntosh Assistant Director ofthe Capital Campaign Stephen N. Roache ChiefFinancial Officer Irene Kreny Accountant Madhukar Balsam Assistant Controller Robert J. Saracena Facilities Manager 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 Sue Macguire Assistant Registrar Dale Gregory Gallery Manager Misty Dan Assistant Gallery Manager Kenneth R. Bing Security Gina Bianco Consulting Conservator Elizabeth V. Warren Consulting Curator Howard Lanser Consulting Exhibition Designer Education Diana Schlesinger Director ofEducation Lee Kogan Director, Folk Art Institute/Curator ofSpecial Projects for The Contemporary Center 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 Departments Cheryl Aldridge Director ofDevelopment Diana DeJesus-Medina Director ofCorporate Development Gina Talocco Development Associate Beth Bergin Membership Director Suzannah Schatt Membership Associate Danelsi De La Cruz Membership Assistant Wendy Barreto Membership Clerk Susan Flamm Public Relations Director Monique A. Brizz-Walker Director ofSpecial Events Katie Hush Special Events Coordinator Alice J. Hoffman Director ofLicensing Marie S. DiManno Director ofMuseum Shops Richard Ho Manager ofInformation Systems, Retail Operations Janey Fire Director ofPhotographic Services Eugene P. Sheehy Volunteer Librarian Rita Keckeissen Volunteer Librarian Katya Ullman Library Assistant Edith C. Wise Consulting Librarian Museum Slap Staff Managers: Dorothy Gargiulo, Rita Pollitt, Marion Whitley;Security: Bienvenido Medina; Volunteers: Marie Anderson, Angela Clair, Sally Frank, Millie Gladstone, Arlene Luden, Nancy Mayer, Judy Rich, Frances Rojack, Phyllis Selnick, Lola Silvergleid, Maxine Spiegel American Folk Art Museum Book and Gift Shop Two Lincoln Square(Columbus Avenue between 65th and 66th Streets) New York, NY 10023-6214 212/595-9533 ext. 26 Administrative Offices American Folk Art Museum 555 West 57th Street, New York, NY 10019-2925 212/977-7170, Fax 212/977-8134,


Fine FoI Art Embroidered Rug with five wonderful houses and gardens, and fun folk fiowers. Wool yarn stitched on a brown wool backgroud. New England origin circa 1850. Found in New Hampshire. Rebacked and mounted. 27" x 38"

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Hooked rug depicting a sheep with floral border and multicolored background. Cotton hooked on burlap. Wonderful primitive perspective. Signed by maker: EES. Franklin County, Pennsylvania. Circa 1870. Dimensions: Height: 35, Width: 43"

Almost symmetrical brightly colored scene of 2 rabbits surrounding a carrot and 2 bluebirds perched on branches above. Strong graphics and great primitive perspective. Pennsylvania. Circa 1930. Dimensions: Height: 25", Width: 39"

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Exceptional Portrait of a Young Girl attributed to Wm. Matthew Prior c.1840 / Oil on academy board / 10" x 14"



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golis Ro ,owt gEN..)114.0 TAID"Z Ac-csA


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and gift shops. We look forward to the ith understandable pleasure of welcoming you to both emphasis on the sites in the months and years ahead. developments on Through the initiative of Helaine West 53rd Street, the Ellin Ente American Fendelman, Museum's the where Folk Art Oral History Project was almost completed established at the American Folk Art facilities handsomely Museum late last year. I had the pleagrace the streetscape, plans for the of working with Ellin—a sure Gallery Feld Morris and Eva existing Museum docent in the 1970s and at Lincoln Square are not being over1980s—soon after I came to the looked. Since it first opened its doors in 1980. An accomplished Museum to the public in 1989, the Feld Gallery photographer, she volunteered her serhas served the Museum and commuvices to create a visual record of the nity well, and it will remain an imporMuseum's installations. It is espetant and integral part of the Museum's fitting that Ellin Ente's name cially mission. In particular, the Daniel and memory should be associated with Cowin Permanent Collection an effort to preserve the heritage of Gallery—dedicated in 1993 in the American folk art. I am delighted to south wing of the Feld Gallery in The Daniel Cowin Permanent Collection Gallery, entrance; 1993 that in addition to the leading report trustee— memory of a distinguished gifts of Ellin's sons, Douglas and has allowed the Museum to share the Steve, more than forty thoughtful conriches of its collections with the public have supported this effort. tributors on a sustained basis. I am also pleased that this project At a time of remembering,I cannot is being undertaken in a partnership help but to recall the many contribuwith our colleagues at the Fenimore tions of Daniel Cowin to the life of the Museum in Cooperstown, New Art were Museum. He and his wife, Joyce, York. We now have a program in founding members of the Museum's place to preserve the oral history of Friends Committee, and Joyce served American folk art and to establish an as president of that significant arm of accessible to scholars and archive Daniel years. many the Museum for students. In addition, some of the not only was a valued advisor to me material collected by the Oral History and to my predecessor, Robert Bishop, will appear in future issues of Project 8 but he also had a direct and important The Daniel Cowin Permanent Collection Gallery, east wall; 1993 Folk Art. impact on the Museum's building and Even as we are looking back to our publication programs, areas in which to welcome large numbers of visiplans exciting making roots, we are he was an expert. All of us continue to recall Daniel Cowin warmly— 53rd Street. The planning process on opens it when Museum the to since tors that grateful are we opening—and he never missed an exhibition has been substantially facilitated by the participation of the Commuhis untimely passing, Joyce has played such a major role in the nity Partners Program of the Harvard Business School Club of New Museum as a member of the Executive Committee and as an active York. This program represents one of the most effective pro bono proparticipant in other Board initiatives. of its kind in the country; graduates of Harvard Business School jects the mind, in Gallery Feld Morris and Eva the of use With future offer their time and expertise to address the challenges facing not-forMuseum is planning a series of improvements in this space. A new profit organizations. The Museum's Community Partners were David facade, providing a welcoming entranceway to the gallery, has been Rosen, vice president and division manager, Software House Entera created also Handel Van Handel. designed by architect David van prise Solutions; Laurie Matthews, senior vice president, Young & splendid new museum shop environment in the front of the gallery. Rubicam; Khoon-Min Lim,executive director, Morgan Stanley InvestTrustee Frances Sirota Martinson, whose commitment to the Museum ment Management, and Lucy Kennedy, principal, Hartford St. Associis one of our great institutional strengths, led the effort. All of us owe Working closely with Trustees and staff, the team developed a ates. her a warm debt of gratitude. series of marketing strategies aimed at enhancing the way the Museum The Museum's staff can now look forward to the privilege of servcommunicates its message to the public. To say that my colleagues and ing the public through two locations—the Museum's headquarters at are grateful to the Community Partners would be an understatement. I Lincoln at Gallery Feld Morris 45 West 53rd Street and the Eva and They were generous with their time and resources, truly committed to Square. In both locations, the Museum will present a fascinating the Museum, and wonderful to work with.* schedule of exhibitions and related programs as well as operate book





K.S. Art

Jonathan Lerman lb. 1987) untitled, 2001, charcoal on paper, 14" X 17"

73 LEONARD STREET NY NY 10013 212 219 9918

TYRONE CAMPBELL GALLERY Antique American Indian Art, Ethnographic and Folk Art

8900 EAST PINNACLE PEAK ROAD SUITE B2 SCOTTSDALE, ARIZONA 85255 PHONE 480-502-8899 Mayan Shaman Dolls - West Coast Guatemala circa 1930's & 40's


0Christie's Inc. 2001



A molded copper leaping horse weathervane A. L Jewell (active 1852-1867), Waltham, Massachusetts Sold on January 20, 2001 in the sale of American Folk Art from the Collection of Kendra and Allan Daniel for $127,000

-Important American Furniture, Prints, Folk Art and Decorative Arts Auction


New York

October 12

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20 Rockefeller Plaza New York, New York 10020



October 6-11

800 395 6300

For two weeks in early June, the first two of sixty-four tombasil panels were affixed to the facade of test if would h rly. They from a' • rsby who p k inside th m's cons tion shimmering metal. The panels passed the test with flying colors, and teams at the architecture firm, the foundry, and the Museum let out a resounding cheer. Finishing touches on the building's weather barrier are being completed, and the remaining tombasil panels are being mounted to the facade. The stonework on the first floor is complete. Twenty-three enclosed niches to display objects from the Museum's permanent collection, and fiber optics to light them, have been installed in the niche wall running the length of the rear ornamental stair. The climate control systems have now been turned on so we can begin the process of commissioning the building over from summer to fall. The Certificate of Occupancy is expected any day now, and the building will open to the public on December 11, according to schedule. Huzzah!

Trustee Sam Farber and his

wife, Betsey, with architect Billie Tsien




The Watts Towers photos courtesy of the Los Angeles Cultural Affairs Department


MANHATTAN ART & ANTIQUES CENTER The Nation's Largest and Finest Antiques Center. Over 100 galleries offering Period Furniture, Jewelry, Paintings, Silver, Americana, Orientalia, Africana and other Objets d'Art. 1050 SECOND AVENUE(55TH ST.) NYC 10022 Tel: 212-355-4400 • Fax: 212-355-4403 • Email: Open Daily 10:30-6, Sun. 12-6 Convenient Parking Open to the Public PRESENTS

"FLAGS OF THE NATIONS OF THE WORLD" QUILT completely pieced to imitate an 1876 Centennial printed commemorative kerchief. Ex-collection J. Watson Webb (Shelburne Museum)

LAURA FISHER ANTIQUE QUILTS & AMERICANA Gallery #84 Hours: Monday -Saturday 11AM -6PM

Tel: 212.838.2596 New York City's largest most exciting selection of Antique Quilts Hooked Rugs Coverlets, Paisley Shawls Beacon Blankets Vintage Accessories and American Folk Art



Restored Watts Towers Reopen This fall the Watts Towers of Simon Rodia State Historical Park in Los Angeles, Calif., will reopen after undergoing restoration from the 1994 Northridge earthquake. Constructed from steel, wire, mesh, sand, cement mortar, seashells, pottery, tiles, rocks, and colorful bottles, the towers are seventeen extraordinary sculptures. Simon Rodia, an Italian-American construction worker, designed and built the towers between 1921 and 1955 without any formal artistic training or assistance. He worked

without a drill, welding torch, or scaffolds. In 1990, the towers were designated a National Historic Landmark. Since the Northridge earthquake, these outstanding works of folk art have been closed to the public. The

Watts Towers will reopen to the public commencing with an unveiling and "Lighting of the Towers" ceremony on Sept. 28. The twentieth annual "Day of the Drum" will follow on Saturday, Sept. 29, and the weekend festivities will end with the "Simon Rodia Watts Towers Jazz Festival" on Sunday, Sept. 30. The Watts Towers Arts Center, adjacent to the towers, will simultaneously be exhibiting works by Los Angeles artist Alex Donis. His exhibition will run through Nov.4. Simon Rodia called his masterpiece "Nuestro Pueblo," meaning "our town." His towers are a testament to the creative ingenuity and dedication of one working citizen. For information, contact the Watts Towers Arts Center at 213/847-4646.

Oppenhlmer Collection Travels A traveling exhibition,"Point of View: American Folk Art from the William and Ann Oppenhimer Collection," will be on display at the Marsh Art Gallery of the University of Richmond, Va.,from Oct. 11 through Dec. 16."Point of View" features approximately eighty pieces by fifty contemporary artists. Represented in the exhibition are folk artists Minnie Adkins, Leroy Archuleta, Aaron

Birnbaum, Miles Carpenter, William Dawson, Uncle Jack Dey, Howard Finster, Ted Gordon, Bessie Harvey, Mr. Imagination, James Harold Jennings, S.L. Jones, Charley Kinney, Jon Serl, Robert Sholties, Derek Webster, and Malcah Zeldis. A catalog will be available at the gallery in Richmond after Oct. 11, 2001. For more information, please contact the university at 804/289-8276.

Quilt Roundup Five exhibitions showcasing quilts will be on display this fall at venues around the country: San Jose, Calif. The San Jose Museum of Quilts and Textiles (408/971-0323,ext. 10) will host an exhibit,"Take 2: Quilts in Two Colors," from Sept. 14 to Oct. 28, 2001. The exhibition will showcase approximately twenty to twenty-five traditional and contemporary quilts, the common thread being that all the works incorporate only two colors as the crucial design element. From midnineteenth-century blue-and-white quilts to the red-and-white quilts of the Victorian era to the solid jewel tones of Amish quilts, "quilts in two colors" have long engaged American folk artists. The "Take 2" exhibition showcases their creative solutions to the challenge of working with a limited palette and emphasizes the exploration ofform,line, and light. A reception open to the public and free with admission will be held at the museum on Sunday, Sept. 16,from 2 to 4 PM. Denver,Colo."Quiltspeak: Stories and Stitches" is on view at the Colorado History Museum (303/866-3682)through Feb. 24, 2002. The exhibit features forty traditional and contemporary quilts from Colorado's African American, Native American, Hispanic, Hawaiian, Japanese, Italian, Jewish, and Amish communities. Visitors will have the opportunity to meet many of the artists from these communities during the museum's "Meet the Quilter Gallery Talks." The quilters will display and discuss the various techniques employed to create their quilts. Their stories are a compelling feature of this engaging and unique exhibit. Indianapolis,Ind. The Indiana Museum of Art(317/9231331)continues its exhibit "Stitch

FOUR SEASONS IN INDIANA / Marilyn Price / 1978 / hand-printed cotton, pieced, appliqued, and embroidered with cotton 4"/ gift of L.S. Ayres and 3 4 84/ / thread / 951 Co., Indianapolis Museum of Art

by Stitch: A Quilt Potpourri" in the Paul Textile Arts Gallery through Oct. 7,2001. The exhibit features thirteen impressive quilts from the museum's collection. The "potpourri" includes seven nineteenth-century quilts, an Amish quilt, an appliquéd quilt from the Hawaiian Islands, and a crazy quilt. The exhibit also features Marie Webster's unique 1914 piece, Grapes and Vines, as well as a recent gift to the museum,the 1847 Eli Lilly Family Quilt."Stitch by Stitch" is free and open to the public. Intercourse,Pa."Stars and Bars: Inspirations from Antique Amish Quilts" is on view at the People's Place Quilt Museum (800/828-8218)through Oct. 31. 2001. This year marks the museum's thirteenth annual exhibit of antique quilts, and more than twenty-five Amish quilts are currently on display. "Stars and Bars" depicts a spectrum of creative variations on two traditional Amish patterns. The museum is open Monday through Saturday, 9 AM to 5 PM. For more information, visit the website at Houston,Tex."Spirits of the Cloth: Contemporary Quilts by African American Artists" will be on display at the Blaffer Gallery at the Art Museum of the University of Houston(713/743-9528) from Oct. 13 through Dec. 21, 2001."Spirits of the Cloth" features fifty-one quilts by thirty-one exceptional African American quilters. Inspired by a rich legacy of African techniques in America from the colonial period to the present, these works by contemporary artists attest to rich representations of the human spirit.








American Folk Art Sidney Gecker


Intuit Turns Ten Intuit: The Center for Intuitive admission is free. For more and Outsider Art of Chicago cele- information, please call Intuit at brates its tenth anniversary this 312/243-9088. year. In honor of the last ten years, Intuit presents "Rear Vision," an anniversary retrospective on view from Sept. 7 through Nov. 24. This culminating exhibition will feature highlights from more than ,i1 1.2 T•ii 401 id • forty previous exhibits. i: Included in the show k, -L•4.1. - . •„,,,, • •: , 4 ,‘„, .1 , i i 'Li , 1 , ; ....,...011 will be works by James 1. Castle, William Edmondson, William L. Hawkins, Cora Meek, Judith Scott, and um issu neverenu samum uaviu mumps/ sums, pencil, Drossos P. Skyllas. The crayon, and paint on oilcloth / 46% x 47/ 1 2 "/ Intuit: The Center public is welcome, and for Intuitive and Outsider Art

"Grandma" Moses in Brooldyn From Dec. 7, 2001 through Jan. 27, 2002, the Brooklyn Museum of Art will spotlight the life and works of Anna Mary Robertson, "Grandma Moses." A retrospective of approximately eighty paintings by the farmer, artist, and homemaker,"Grandma Moses in the 21st Century" places her work within the contexts of her time (1860-1961). The exhi-

bition largely focuses on her work in relationship to changing social perspectives, popular culture, and folk art, as well as "high" art. A creator of the style commonly called "memory painting," her art today recalls many influences on the creative process in the twentyfirst century. For more information, please call 718/638-5000, ext. 330.


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

18 1 NLL 2001 FOLK ART

"Crafting Utopia: The Art of Shaker Women" will be on view at the Georgia Museum of Art in Athens, Ga.,from Sept. 22 through Dec. 2. The exhibition includes 115 works by women of the Hancock Shaker Village in Pittsfield, Mass. This traveling show emphasizes the role of women in Shaker daily life. Featured in the exhibition are furniture and woven baskets as well as kitchen utensils, dresses, and handkerchiefs. For further infor-

WOOD BOX / artist unknown / date unknown / white pine, fnittwood, and iron / 247/8 x 29x 17"/ Georgia Museum of Art

mation, please contact Bonnie Ramsey at 706/542-0451, or visit the Georgia Museum of Art's website at gamuseum.


GIVE THE GIFT OF MEMBERSHIP • • • RECEIVE A FREE GIFT FROM US! Purchase a gift membership and receive a box of Museum notecards. Order today for holiday delivery!

MEMBERSHIP LEVELS Senior or Student $45 (with ID) Individual $55 Dual/Family $75

Telephone the Membership Office at 212. 977. 7170 or e-mail


LEAPING STAG AND ROCKY KNOLL / Possibly W.A. Snow & Co. or Harris & Co. / New England, possibly Boston / 1870-1900 / molded and gilded sheet copper / 27 x 35V, x TA" / Collection of the American Folk Art Museum, New York; gift in memory of Burt Martinson, founder and first president of the American Folk Art Museum, by Cordelia Hamilton, 1985.14.1 WINTER 1995 FOLK ART 19

Quilted Constructions By Suzannah Schatt

The Spirit of Design Fifteen winning quilts from "Quilted Constructions: The Spirit of Design," an international quilt contest sponsored by the American Folk Art Museum, are on view at the Museum's Eva and Morris Feld Gallery at Two Lincoln Square from September 14, 2001,through January 13, 2002. As one of the leading institutions dedicated to the exhibition, preservation, and research of American quilts, the American Folk Art Museum has an abiding commitment to both the past and the present of American quiltmaking. The Museum's comprehensive permanent collection includes more than 400 artistically and historically important textiles representing the major American quiltmaking traditions from the late eighteenth century to the present day. Through its exhibitions, educational programs, publications, and initiatives such as this one, the Museum affirms that quilts continue to offer new possibilities for artistic experimentation. Focusing on the diversity of creativity in textiles, "Quilted Constructions: The Spirit of Design" highlights the work of contemporary quilt artists who, with the traditional quilt as a reference point, have utilized a variety of media and techniques including painting, dyeing, printing, photo transfer, silk screening, and assemblage. Entries came in from all over the United States and from twelve countries overseas—Austria, Belgium, France, Germany, Israel, Japan, the Netherlands, New Zealand, Norway, Slovenia, South Africa, and Switzerland. The contestjudges were Brooke Davis Anderson, director and curator of the Museum's Contemporary Center; Stacy C. Hollander, the Museum's senior curator and director of exhibitions; Paula Nadelstern, noted quilt artist and author; and Elizabeth V. Warren, the Museum's consulting curator. From twenty-five semifinalists, the judges chose fifteen quilts on the basis of their originality, execution of theme, craftsmanship, needlework, and overall appearance. Marta Amundson of Riverton, Wyoming, was the grand prizewinner of the trip for two to Spain. Her quilt entitled Swedish Design Sampler #3 depicts fifteen chairs from various places in Stockholm. The name of the place where each chair is located is included somewhere in its quilt panel. The quilt is made up of panels that are buttoned together with artist-made buttons. Esterita Austin of Port Jefferson, New York, and Jenny Hearn of Benmore, Gauteng, South Africa, are the runners-up. They will each be awarded a cash prize of $750. Austin's quilt depicts the view out from the bottom of a well. Hearn's quilt depicts a hewn wooden door adorned with various African motifs. The fifteen winning quilts came from Arizona, California, Connecticut, Florida, Maine, Massachusetts, New York, Washington, Wyoming, Japan, the Netherlands, and South Africa.* Suzannah Schatt earned her M.A. in art historyfrom New York University beforejoining the American Folk Art Museum as its membership associate. She was the coordinator ofthe Quilted Constructions: The Spirit ofDesign quilt contest.


Photography by Gavin Ashworth

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Swedish Design Sampler#3 Riverton, Wyoming Grand prizewinner Marta Amundson is in touch with her environment. She begins every day with a seven-mile bike ride to focus her creative ambition. She then spends many hours in her studio where her quilts provide her with her artistic voice. Swedish Design Sampler#3 is about her memories of Stockholm and how one can have a relationship with a city. Amundson knows exactly where each of these chairs is situated within the city, who was with her when she sat in them, and how long they spent sitting there. She writes,"Chairs are the essence of art and history in every culture. They come from somewhere and they are honest in telling you their origins. If you look closely at my chairs, they will tell you where they came from. You will know that these humble chairs are markers for Stockholm,the city in my dreams."

Marta Amundson

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Esterita Austin The Well Port Jefferson, New York Runner-up Esterita Austin, a designer, teacher, and quiltmaker, has completed numerous quilts in her stone series and has displayed and sold them nationally. She became interested in using stone in her imagery after a trip to the Cloisters in New York City. Her travels have taken her to places as far away as Scotland and Italy in search of inspiration from stone foundations and structures. She says that her life experiences, struggles, and successes are reflected in these images. As depicted in The Well, there is always an escape route—an open door or window to the future. There is always the possibility of something else lying beyond. Austin also does individual and corporate commissions.

THE WELL Esterita Austin Port Jefferson, New York 2001 Acrylic, watercolor pencils, applied tulle, and rayon thread on hand-dyed and commercial cottons; machine pieced, cotton fused to cotton, and machine quilted 78 48"


Jenny Hearn African Idiom Benmore,Gauteng, South Africa Runner-up Jenny Hearn has exhibited at the biannual international shows in South Africa, where she has won awards. Her work is on display in private collections in Britain, Germany,Canada, and the United States. Since 1994, when she attended her first quilt show,she has taken many classes offered for avant-garde quilters. Although she appreciates the geometric repetition of conventional quilting, she prefers to work in a vibrant and improvisational way and enjoys incorporating three-dimensional forms, knitting, embroidery,and sometimes even paint in her work. Hearn is a noted painter of miniatures and watercolors, in addition to being a textile artist.

AFRICAN IDIOM Jenny Hearn Benmore, Gauteng, South Africa 2001 Hand-dyed and commercial cottons; machine embroidered, appliqued, pieced, and quilted 86% 48"


GATHERING OF BARS Leslie C. Carabas Sonora, California 2000 Cotton and cotton thread; machine quitted 76 48"

Rosemary Hoffenberg Character Study Wrentham, Massachusetts Rosemary Hoffenberg is a self-taught quilt artist. She first started working with textiles when she learned to batik. In 1994, Hoffenberg learned machine sewing and her art changed dramatically when she began to quilt the fabric she had been creating for others. Her quilt designs begin with the design and coloring of the fabric, long before she does any sewing. Colors direct the shapes. Her work has been widely exhibited in museums and other exhibitions. Two of her quilts, 92nd Street Pier and Headlights on the Belt Parkway, were featured in "Edge to Edge: Selections from Studio Art Quilt Associates," an exhibition presented by the American Folk Art Museum from June to September 1998. Hoffenberg's work was most recently exhibited at Quilt National 2001. V

Leslie C. Carabas A Gathering ofBars Sonora, California Leslie Carabas has been a quilter and artist for more than twenty-five years. Her quilt, Gathering ofBars, is one of a series of works using "Amish Vocabulary" to express uncomplicated relationships. She first created small blocks, which were all reactions to a study of Amish bar quilts. Then,in pushing the blocks together, she discovered a playful interaction between the individual bars. By limiting herself to solidcolor fabrics and not allowing herself to cut those fabrics into tiny pieces, she is discovering elements that are of primary importance to her, such as the need to include humor or surprise in works that are essentially serious.

CHARACTER STUDY Rosemary Hoffenberg Wrentham, Massachusetts 2001 Hand-dyed, hand-painted, and screen-printed cottons, canvas, shibori, and commercial nylon ribbon; machine pieced, hand and machine quilted 73 471 / 2" 26 FALL 2001 FOLK ART

SCRAP PATCH SYMPHONY Natasha Kempers-Cullen Topsham, Maine 2001 Hand-painted and handstamp-, block-, screen-, and monotype-printed cotton, silk, and linen with textile paints and fiber reactive dyes; tulle, metallic organza, rayon, and metallic thread; hand beaded with glass bugle beads; machine quilted with collage construction 48 97"

Natasha Kempers-Cullen Scrap Patch Symphony Topsham, Maine Natasha Kempers-Cullen is an artist who,in 1987, after teaching art in the public schools for sixteen years, began creating art quilts and conducting workshops throughout the United States. She paints and prints her own fabric and constructs embellished collages. Her work has been in many juried and invitational exhibitions, including Quilt National, Quilt San Diego,"Art Quilts: Playing with a Full Deck," and "Women of Taste: Artists and Chefs Collaborative." Kempers-Cullen's work is in several collections, most notably the Renwick Gallery of the Smithsonian Institution in Washington,D.C.

Eleanor A. McCain Red/Blue Squares Shalimar, Florida Eleanor McCain is a practicing internal medicine physician who comes from a long line of quilters and owns many family quilts, including quilts made for warmth and comfort as well as quilts made for beauty. For the last eight years, she has been making art quilts. Red/Blue Squares is an exploration of shape and color relationships. The quilt is machine-pieced from hand-dyed cotton fabrics cut improvisationally. She is intrigued by visual changes caused by variations in these colors, shapes, and sizes. The piece is machine-quilted to overlay a grid of different colored threads onto the color fields of the quilt, as an exploration of the visual effects as the grid recedes,comes forward, or vanishes. Her quilt, Linear 2, was featured in "Edge to Edge: Selections from Studio Art Quilt Associates," an exhibition presented by the American Folk Art Museum from June to September 1998. RED/BLUE SQUARES Eleanor A. McCain Shalimar, Florida 2001 Hand-dyed cottons; machine pieced and quilted 48 96"


AUTUMN IN NEW ENGLAND Barbara Barrick McKie Lyme, Connecticut 2001 Computer-altered images disperse dyed on polyester; machine pieced, embroidered, and quilted 481 / 2 81"

FANFARE FOR AN ORANGE Barbara Barrick McKie Lyme, Connecticut 2001 Computer-altered images disperse dyed on polyester and hand-dyed silk; machine appliquĂŠd, pieced, and quitted 48 77"

Barbara Barrick McKie Autumn in New England and Fanfarefor an Orange Lyme,Connecticut Barbara Barrick McKie has the distinction of being the only quilt artist in this exhibition to have two quilts included. In addition to being a quiltmaker, McKie has been a jewelry designer, a wedding gown designer, a wearable art designer, and a computer automation consultant. She uses her skills to create computer-generated art from her own photographic images. Her quilts have been juried into many national and international quilt and art quilt shows,including Quilt National'99 and Crafts National '97. Her quilt An Orangefor Lunch was shown in "Edge to Edge: Selections from Studio Art Quilt Associates," an exhibition presented by the American Folk Art Museum from June to September 1998,and featured on the cover of the exhibition catalog.


Setsuko Obi Light From Far-Away Space Komae,Tokyo,Japan Setsuko Obi learned American patchwork quilting in 1977 in California while her husband worked on an extended business assignment. She continues to create hand-sewn patchwork, using mainly Japanese antique fabrics. Color, layout, and gradation, using the same block shape in a variety of fabrics, has been her main quiltmaking theme. Her work has been shown in various quilt exhibitions in Japan,the United Kingdom, and Canada. In 1990,she was featured in the book The Passionate Quilter by Michele Walker as one of the top quilters in the United Kingdom, where she and her husband then lived. Her first solo exhibition was held at the Joseph Schneider Haus Museum in Ontario, Canada,in 1997.


Joan Schulze Fast... Faster Sunnyvale, California Joan Schulze's artwork is included in many public and private collections, most notably the Renwick Gallery of the Smithsonian Institution in Washington, D.C. and the American Craft Museum in New York City. Schulze exhibits internationally, most recently in China in the "International Art Tapestry Beijing 2000," Tshinghua University Academy of Arts and Design, and "Art and Science International 2001," National Museum of Fine Art, Beijing. Schulze is a published poet and author who lectures widely. The Art ofJoan Schulze, published by Custom & Limited Editions, San Francisco, illustrates her thirty-year career.

. -K- -- •

ig• i, .„ 4 '4 • It

LIGHT FROM FAR-AWAY SPACE Setsuko Obi Komae, Tokyo, Japan 2001 Antique Japanese fabrics and hand-woven silk; hand pieced and quilted 79 48"

FAST ... FASTER Joan Schulze Sunnyvale, California 2001 Computer-altered text and images on paper, silk, and cotton; machine quilted 48 . 81"


WHAT DO YOU KNOW? Sally A. Sellers Vancouver, Washington 1999 Photo transfers on cotton and canvas, rayon thread; machine appliquĂŠd, pieced, and quilted 48 82"

Sally A. Sellers What Do You Know? Vancouver, Washington Sally A. Sellers became a quiltmalcer to cope with the realities of her daughter's devastating neurological condition. Her work has been exhibited widely. What Do You Know? addresses the information overload that confronts each of us. What is important? What is extraneous? How do you organize all the information you receive? Sellers says "the decisions we make in choosing which information to assimilate(when we choose at all) dictate the type of lives we lead."

Carol Taylor Cymbalism Pittsford, New York Carol Taylor has created more than 280 quilts since 1993 and is a popular teacher in upstate New York. Her quilts are distinguished by vibrant colors, striking contrasts, and heavy machine quilting and embroidery. She enjoys using her own dyed fabrics and has incorporated commercial silks in her latest work to convey her mostly abstract, motif-driven designs. Taylor's work has been exhibited widely and included in Quilt National. In April 2000,Taylor was one of two double winners at the American Quilters' Show in Paducah, Kentucky. 30 FALL 2001 FOLK ART

CYMEtALISM Carol Taylor Pittsford, New York 2001 Hand-dyed sateen, rayon thread; machine quilted with free-motion circular quilting 95 48"

REFLECTION ON REFRACTION Dirkje van der Horst-Beetsma Tegelen, The Netherlands 2001 Hand-dyed and commercial cottons and silks; linen and polyester; machine stitched 48 76"

REFLECTION Kathyanne White Prescott, Arizona 2001 Hand-dyed cotton; machine pieced and quilted 78 48"

Dirkje van der Horst-Beetsma Reflection on Refraction Tegelen, The Netherlands Dirkje van der Horst-Beetsma is a self-taught quiltmaker. She started working with fabrics while working as a pediatric nurse. She realized the potential for expressing herself through quilting after seeing an exhibition of quilt art in 1986. Years ago, van der Horst-Beetsma created a quilt based on refraction imagery that was beautiful but not, in her mind, powerful. After reading the Museum's contest rules, she decided to use pieces from that quilt to create a new one that would make a powerful statement. When she quilts, she stitches directly to the bottom fabric without using pins and appreciates the rough edges created by this technique.

Kathyanne White Reflection Prescott, Arizona Kathyanne White began sewing when she was six years old. Her first career was that of a clothing designer and an owner of retail clothing stores. The textile business gave her great knowledge offabrics. Now she dyes her own fabrics—sometimes as much as 100 yards at a time—and creates her own color palettes for each quilt. Her work has been exhibited widely and is in private and public collections. She has gallery representation in Colorado, New Jersey, Arizona, and Illinois. FALL 2001 FOLK ART 31

UNTITLED 1939 Mixed media 28/ 1 2x 26 x 3" The William S.Arnett Collection


Hawkins Bolden By J. Scott Ogden here are only a handful of artists whose work moves me as much as Hawkins Bolden's. His sculptures completely fascinate me and provide a compelling example of how art can transcend almost any situation. His creations have left an indelible mark on my subconscious, causing me to have the recurring dream that I am visiting his home and seeing his new work. It's a dream that leaves me feeling cheated because it is not real. It's kind of like being twelve years old and thinking it's Christmas morning only to wake up to an ordinary day and find I am late for school. The term folk art is often used to describe Bolden's constructions; however, his assemblages look very little like typical folk sculpture. Although he is without question selftaught, his work remains on the outskirts of what is considered folk or Hawkins Bolden with his sister Elizabeth Williams, 1996

Hawkins Bolden in his backyard, August 1987 Photo courtesy of William S. Arnett

outsider art. When I think of folk art, I think about old weathervanes, Ammi Phillips portraits, and handdecorated furniture, not the work of unconventional artists like Bolden. The label "outsider" feels more disserving to a contemporary self-taught artist. It suggests that he or she is other or different, rather than simply talented. Maybe we can just say that Bolden is an artist, although this designation may also prove troublesome. Bolden's sculptures are powerful and sometimes haunting visual expressions of an inner world very few of us can fully appreciate. In his mind, he never intended for these objects to be considered art. The fact that the artworld has appropriated his work into its system of galleries, museums, and private collections is lost to him. It is only by chance that his work translates so well within

these settings. Arguably, many selftaught artists, at least initially, have no concept of themselves as artists. Bolden pushes this notion to its limits. I do not think that he even has a clear grasp of what art is. In order to create, he relies only on his sense of touch. Blind since childhood, he has no awareness of the amazing visual associations that he is able to make with found and recycled materials. Born on September 10, 1914, Bolden has lived his entire life in Memphis, Tennessee. The circumstances surrounding the loss of his eyesight are a little unclear. It has been suggested that Bolden was blinded when his twin brother struck him in the head with a baseball bat. This injury, while quite severe, did not blind Bolden. It instead intensified the epileptic seizures that he had been experiencing since infancy. His blindness is more likely attributable to a particularly violent epileptic attack he suffered sometime around the age of eight. At some point during this seizure, Bolden collapsed onto his back, landing in a position that left him staring directly into the sun. He was unable to look away or close his eyes until the convulsions had subsided. By that time, it is believed, his vision had been irreparably damaged. At around the same time, Bolden underwent a rather primitive brain operation that was supposed to alleviate the seizures. This procedure may have also played a part in corrupting his vision.' Whatever the exact cause, blindness has not deterred Hawkins Bolden from living an amazingly productive life. As a teenager, Bolden became fascinated with electricity. He began taking apart lamps and clocks from around his house and was soon putting together radios using old cigar boxes and crystals. Elaborate antennas for these radios often snaked through several rooms before ending on top of the refrigerator.2 His extraordinary ability to work with his hands was also well-honed through years of working outdoors. Implementing tools of his own invention, Bolden keeps his backyard and vegetable garden incredibly well groomed. He trims his lawn by hand, using a homemade machete or scissors. He recently demonstrated his


technique for me in his home. Hunched low to the floor, he whizzed a scythe fashioned out of an old metal pipe across his bedroom. The process seemed to amuse him. He repeatedly broke into laughter and made exaggerated noises to mimic the sounds of cutting grass. Even though he seemed fully aware as to my whereabouts in his room,I kept my distance. There is something somewhat threatening about a man without sight wielding

an extremely sharp object in such a small space. Yard work has become a passion for Bolden over the years. He does not seem to feel content unless his yard is exactly how he wants it. His relatives have several times had to bring him indoors after finding him outside at three or four in the morning cutting the grass and pulling weeds. Sometime during the 1960s, Bolden began obsessively covering his small yard with unusual scarecrows. Utilizing a large variety of scavenged materials, he inventively

recycled objects that had been discarded as trash. It wasn't long before scarecrows outnumbered the plants that they protected. These objects dramatically transformed the landscape of his yard. They created a surreal environment that neighborhood children referred to as the "voodoo garden." Soup cans, old pots and pans, buckets, strips of garden hose, carpet scraps, hubcaps, used lumber, and worn-out pants are only a few of the materials that Bolden used to create his scarecrows. For many years, he was able to gather these items on his own, by searching through dumpsters and nearby alleyways. Today, old age forces him to rely on objects given to him by friends and local trash collectors. At one time Bolden's garden was completely covered with his creations, but because of theft from his yard, he now keeps most of his work inside, under his bed. Since starting, he has made hundreds of objects, some small enough to hold in your hand and others more than twelve feet tall. Unlike other "yard shows," in which artists decorate their surroundings to create a more beautiful setting or to make a public statement, Bolden's backyard constructions were built with no thought as to how people might respond to them. Although visually stunning, they were conceived only in terms of function. Their sole purpose was to keep unwanted birds and pests from destroying his vegetable garden. Art brut has pretty much been talked to death, but when discussing Hawkins Bolden, it is necessary to mention him within its context. As an art designation, there is no question that it is outdated and unrealistically narrow in terms of inclusion. Even its founder, Jean Dubuffet, sometimes seemed to have problems deciding who was and was not acceptable. Dubuffet coined the term art brut to describe artwork produced by individuals "unscathed" by popular culture and mainstream society. The artists that he chose for this private club were generally schizophrenics, psychic mediums, hermits, spiritualists, visionaries, and the occasional offbeat layman. In his own words, "These artists derive everything— subjects, choice of materials, means

WATTLED 1998 Mixed mob 52 x 14 x 9" Private collodion

UNTITLED 1986-1987 Mixed media x 100 311/2 am S. Anita lin Wiilo TZled


UNTITLED 1980s Mixed media 40,21 <10' The William S. Arnett Collection


UNTITLED 1991 Mixed media 15 x 10 x 2" Webb Gallery, Waxahachie, Texas

UNTITLED 1998 Mixed media 44 28 9" Webb Gallery, Waxahachie, Texas

of transposition, rhythms, styles of writing, etc.â&#x20AC;&#x201D;from their own depths, and not from the conventions of classical or fashionable art."3 Bolden perfectly matches these criteria. Being blind, he has absolutely no visual contact with the world around him. He has never watched a movie or a television program, visited a museum, or even seen an art book. His physical environment is also very limited. He rarely strays more than a block or two from his small house and interacts with very few people outside of his immediate family. There is no artistic precedent for Bolden's work. It comes completely from within. Culture, at least by Dubuffet's limited definition, plays no part in his creative process. In a 1980 video interview, Bolden describes his work: "I just make these things, you see. Yes sir, I get the old bucket and can, old frying pan, makes all this here, and old carpet rugs. I tear them up, make it. Yes sir. I just make them myself. Yes sir. An old piece of old rotten clothes, you know, I just make them up here and get grass and put it in them, you see. Yes sir, it looks like men you see, and the birds think it's a man sitting there."4 As the camera pans across his yard, a figure reclining in a dilapidated wooden chair comes into focus. This is one of the few scarecrows Bolden has made that has a complete body. Formed with an old pair of pants, a long sleeve shirt, and a tin bucket, it is very convincing. On constant lookout, its gougedout eyes peer into the sky. Hawkins Bolden's sculptures are, in a sense, all self-portraits. Each of his works is anthropomorphic in that, as scarecrows, they are intended to mimic a human presence. Throughout the life of his yard environment, these objects served as physical stand-ins for him when he was indoors or away from home. Many of Bolden's scarecrows have been made by stuffing his own old clothing with grass and leaves gathered from his backyard.

Poetically, with one small gesture, he incorporates so much of himself into his art. Similarly, the bottles and cans that dangle from so many of his assemblages are remnants of his daily intake: evaporated milk, soda, canned fruit and vegetables. Bolden's immediate environment translates effortlessly into art that not only reflects, but personifies, its maker. His sculptures become even more convincing as self-portraiture when you consider how he creates eyes for his scarecrows. They are, on the most basic

level, simply holes drilled and punched through metal and plastic forms; however, through the process of subtraction, they become symbolic expressions of Bolden's own inability to see the world around him. Mouths also tend to be a focal point in Bolden's work. Although he will occasionally describe some of the projections extending from his scarecrows as ears, they are more often than not intended as tongues. These tongues vary in both size and materials. Some hang down several feet from gaping mouths, and others are little more than nubs pushing their way through small slits. He has used aprons, mop heads, shoe soles, strips of plastic, leather, and, most often, spliced garden hose or carpet scraps to create them. They are intended to look threatening but often come across as comical. Outdoors, they provide Bolden's scarecrows with an eerie kinetic energy. Gusts of wind cause them to sway and flap around, furthering their believability as living entities. Beyond this, there is a veiled sexuality in these appendages. The image of an outstretched tongue not only has obvious sexual implicationsâ&#x20AC;&#x201D;it often looks quite phallic. When considered in connection with the hollows of these sculptures' eyes, the tongues become even further sexualized. Many of Bolden's scarecrows appear very playful, perhaps reflecting how much enjoyment he seems to take in constructing them. He seems almost giddy when at work. He laughs to himself, hums old church songs, and excitedly describes how birds fear his creations. Unless you've seen him in action, it is hard to imagine the amount of time and effort put into each piece. His first step is to spend several hours scraping rust off worn metal surfaces with a small rock or sandpaper to "shine them up." As I watched him doing this, I realized how beautiful his every movement was. Whether he simply walks across his backyard or rummages through his


toolbox, there is a dreamlike quality about his actions. His entire process feels almost ritualistic. Each hole drilled is a true labor of love. It takes an enormous amount of strength, persistence, and time just to make one small hole through a frying pan or thick metal tray. The "eye" is then smoothed and enlarged by working different-sized tools through the hole until he is satisfied with its shape. Bolden's earlier work tends to be very jagged and crudely fashioned. The holes are also more realistically placed as facial features than on more recent sculptures. In fact, his work has become increasingly abstract and complex over the years. The early sculptures display an economy in their placement of holes, usually having only two for the eyes and one for a mouth. The expressions are uncanny. Some appear to have cartoonlike smiles and frowns that are accentuated by dangling tongues. Others look ominous and potentially threatening. His newer work displays just as much character but tends to be more obsessively labored over. During my last trip to his house, he described the hole he was working on as being the "middle eye." He did not stop there. Before he was finished, there were at least fifteen eyes on the small salad bowl. He then drilled another twelve through a rusted shovel head. The increase in the number of holes on recent sculptures could be the result of several different factors. I think that it shows a definite evolution in his work. Another observation is that the urgency he once felt to protect his garden from pests is now overridden by fears that his work will be stolen. As a result, Bolden seems to work on each piece for a longer amount of time before tucking it away under his bed. The acquisition of a power drill has made it much easier for him to puncture through metal objects. Before this, each hole had to be formed by hand, which explains the rather rough-edged quality of his early works. Dealers and collectors have been visiting Bolden since the 1970s, purchasing work, snapping photographs, and occasionally taking advantage of his inability to see. Even though he has devoted family members looking out for him, they are not


always at his side. Trusted dealers and friends have been impersonated, stacks of one dollar bills have been passed off as twenties, and once, somebody eager to take home a few sculptures went so far as tell him that his long-time friend and supporter William Arnett had died in the hope that Bolden might feel more inclined to part with his work. As Arnett recently told me over the phone, "If you get enough vultures together, they can devour anything."5 Bolden still spends most of his time building scarecrows. According to his niece, Verna, it is not unusual to hear him at work throughout the night. She has learned to sleep through the racket caused by his hammer and drill. Before Verna moved in with her uncle, her mother, Elizabeth, kept a watchful eye on him. By all accounts, Elizabeth was an extremely colorful individual who dedicated herself to her brother's welfare until her death. She not only made sure that he was taking care of himself and got to the doctor regularly, but she also dealt with anyone interested in meeting him or purchasing his work. If she didn't take a liking to you, you weren't going to see her brother. That's just the way it was. There is really no artist that I admire more than Hawkins Bolden. I think that this is why he appears in my dreams so often. His sculptures haunt my mind. I can look at the same work over and over again and never see it the same way twice. Walking down the street, I find myself constantly looking at discarded items and manhole covers; I wonder what he would make out of them. For me, he embodies what art is all aboutâ&#x20AC;&#x201D;doing something that you really love and could not live without. There is such a sincere and unique beauty in everything he does. I feel lucky to know him.*

J. Scott Ogden was born in Oklahoma City and raised in Plano, Texas. He earned a B.F.A.from the University ofTexas at Austin, and an M.F.A.from Queens College, City University ofNew York, and is currently working on afilm documentary on self-taught artists. Ogden has worked part-time at the American Folk Art Museum assisting Brooke Davis Anderson, director ofthe Contemporary Center.

NOTES 1 Conversation with William Amen,2001. 2 Conversation with Judy McWillie, 2001. 3 Jean Dubuffet, L'Art brut prefere aux arts culturels, exhibition catalog, Galerie Rene Drouin, Paris, 1949; translated by Paul Foss and Allen S. Weiss in Art Brat: Madness and Marginalia, a special issue of Art & Text, no. 27, p. 33. 4 Video footage recorded by Michael Galbreth, 1980. 5 Conversation with William Arnett, 2001.

11111111JED 1997 Mixed media 48 x 14 x 10" Private collection

UNTITLED 1990 Mixed media 50 21 11" The William S. Arnett Collection


Portraturc in Am rica A Fully Dev looec Form of Fol< Exor ssion Initially, silhouettes were created to capture the likeness of a person in his or her basic form— the "shadow" or "shade," to use the common language of the eighteenth century. Then as now,the desire for a picture of a friend or loved one was important. With the invention of photography nearly three quarters of a century away, silhouettes were the quickest, most economically feasible way of obtaining credible images, and they were produced in great numbers. The simple silhouette form began to change dramatically at the beginning of the nineteenth century. Previously unadorned or modestly embellished, these small likenesses— generally three by four inches—began to show a great deal of detail and imagination. "My dear Miss R : Thos. Wollaston has summon'd me today, to put the finishing strokes to my Shadow, which straightens me for time." This quote, for which we may thank Alice Van Leer Carrick, an early writer, collector, and scholar on American silhouettes, records the earliest American reference to silhouettes to date. Written in 1769, it offers us a glimpse into the thinking of the time. The writer of the letter, Harriott Pinckney of South


By Vincent DiCicco

Figure 1 Device used for creating silhouettes Photograph courtesy Dover Publications, Inc.

Carolina, uses the expression "my Shadow" to describe her likeness. She further states that it "straightens me for time." This may have been the only image of her ever to have existed, and her mentioning the event and its lasting effects to her friend illustrates its 0•• .importance. 4, • The simple • shadow portraits we • know as silhouettes were named for Etienne de Silhouette, a notorious eighteenth-century French controller general of finance and amateur profile artist. Thrifty in financial policy and his art, M. Silhouette was considered cheep, and as a result, the expression silhouette portrait "was a scornful phrase, full of malice."2 It took many years for the •French to embrace the term without its negative connotations. Like other forms of American folk art, silhouette portraituo had amateur as well as proiessional practitioners. Many professional silhouette artists were itinerant, traveling the countryside in search of work. Upon arriving in a town, they would place an ad in the local newspaper announcing the ser• vice being offered. A variety of mechanical devices existed that aided the artist in creating an accurate likeness. One such device (see figure 1)

would allow the artist to trace an exact fullsize profile. The profile would then be scaled down by the aid of a reducing lens or a second device, referred to as a pantograph. The profile outline was then cut out with a pair of scissors. The early silhouette artists in America worked in three basic methods. The most popular was the hollow-cut method. This technique called for cutting out a profile from a sheet of paper, generally white, and then placing the sheet over a contrasting sheet, typically black.(Period paper, of course, was never true white and hardly ever pure black.) The resulting "image" could also be achieved by placing dark-colored fabric, often silk, or a piece of glass painted black on the reverse, behind the cutout sheet. A second approach was the cut-and-pasted method. In this technique, the artist started with a piece of black paper, cut out the profile, and then pasted the cutout image onto a sheet of white paper. As a variation to the stark white background, a printed scene, perhaps one related to the subject's business or occupation, could be substituted. For example, a sea captain of a sailing ship could be placed on top of a printed scene that depicted sailing ships in the background. The third and least oftenencountered method is the fully painted silhouette. This technique involved drawing the outline of the subject's profile and then filling it in with a dark color. This dark color was sometimes accented by the use of bronzing or Chinese white watercolor. Much like portrait painters of the period, silhouette artists concerned themselves primarily with the subject's likeness; the body and accessories were often quick additions, formulaic in their execution. Occasionally, to create instant detail, either a lithographic body was pasted or a block-printed body was stamped directly below the hollow-cut head. The former are unusual, the latter even less conunon.3 Several American folk artists known for their painted miniature watercolor portraits are also known to have produced silhouettes. Counted among them are Rufus Porter and J.A. Davis. Our early American artists often wore many hats and attempted to provide a variety of services based upon the desires and pocketbooks of their clientele. A study of fashions in dress and hairstyles can help us make an educated guess as to when a particular silhouette was created. The earliest and simplest silhouettes offer only the vaguest clues as to the sitter's clothing or hairstyle, but when carefully studied, even nuances can reveal a great deal. For example, in the eighteenth century, men often wore their hair long, either in a braid or tied with a ribbon, and women commonly wore mobcaps. These conventions were not often seen after 1810 and when encountered, they become useful clues in determining the silhouette's date. A similar clue might be large puffy sleeves, a distinct feature of women's dresses in the


1830s. Conflicting fashions, or fashions and inscribed dates that do not correspond, should arouse suspicion in the viewer and can be a useful tool in determining authenticity. Silhouette portraits can be divided into two general groups. The first group is simple, direct, and traditional in execution. The second group is more abstract and imaginative and, at its highest level of achievement, a fully developed form of folk expression. The transition from one to the other, like most developments in art, was a gradual one. The artist I have chosen to illustrate the beginnings of this progression is William Chamberlain, of New London, New Hampshire. Chamberlain went on a two years' tour through Massachusetts, New Hampshire, and New York.4 In Chamberlain's work (figures 2 and 3), the silhouettes remain basic black but show details in varying shades of gray executed in watercolor. Both the cutting and the painting are beautifully and meticulously rendered. Suddenly, the traditional shadow artist is concerned with decorative detail. There is total disregard for a single light source, placed behind the sitter, to create a solid

Figures 2 and 3 PAIR OF HOLLOW-CUT SILHOUMES OF A MAN AND WOMAN Attributed to William Chamberlain New England c. 1820 Cut paper and watercolor on paper; reverse-painted and decorated glass; original gilded wood frames 4/ 3 4"(framed) Collection of the author

shadow. The woman's ruff and the man's vest and cravat are inexplicably illuminated while the rest of the body and face remain in complete shadow. The light source seems to selectively find the details of the sitters' clothing. While this lighting combination is unlikely or perhaps impossible, the end result is pleasing and adds visual interest to the otherwise simple forms. Though none of Chamberlain's silhouettes are signed, his granddaughter, Mrs. Frederick McClure, "has given eighty-nine of his hollowcuttings to the American Antiquarian Society,"5 and it is through this group that others can be attributed. Chamberlain's style is distinct and easily identifiable. Of special note are the original frames and the original glass, which has been "enameled on the reverse in black and ringed or decorated with gold (called eglomise)."6 This style of presentation was popular during the 1820-1830 period and makes a bold statement in the presentation of the profiles. As the development continues, the handling of the head profile for the most part remains the same, but a representational approach of the body begins to evolve. We see the body of the sitter becoming a vehicle of expression for the imagination of the artist. The body is often com-

pletely painted, frequently in an abstract manner. In figure 4, which I believe can be attributed to James Hosley Whitcomb of New Hampshire, "a deaf-mute silhouettist from Hancock,"7 we can clearly see the abstraction of the body progressing. Whitcomb's work is identifiable by the dramatic and distinct lower edge, or "bust curve," as well as the painted handling of the sitter's clothing. Note the original pressed-brass frame. Many silhouettes are enclosed in frames of this type, which were available in a variety of sizes and shapes. The brass is paper-thin and has been pressed to create the desired pattern. A wooden frame supports the thin sheet of brass from behind. The edges of the brass are folded over the wood and inserted into grooves to hold both components together. The silhouette of Mr. W.M. Matthews (figure 5) is signed by Whitcomb. A second signed example, a self-portrait, is in the collection of the New Hampshire Historical Society.8 The artist responsible for figures 6, 7, and 8 must have produced a considerable body of work judging by the sheer number of surviving examples observed by this author. Upon study, the work is easily recognizable. The light and dark elements are dramatic and confidently drawn. Portraits of men are formulalike in pose and always portray the subject with tiny hands. The light area beneath the sitter's lapel in consistent in every example observed. The sitter's body ends rather abruptly and exhibits a slight curve. This feature is consistent in the women's portraits as well, though the curve is more accentuated. In portraits of women, the unmistakable brushwork has an energetic rhythm expressing the complex folds of the dress. Even when the dress is of a different style, the hand of the artist is apparent. Tiny hands are sometimes included. The representation of the head is flat, yet the bodies appear to display some sense of volume. The heads are neatly done but appear somewhat generic in execution. There is evidence that this artist was versatile and offered more than silhouettes in his repertoire. A profile of a woman came to my attention in which the body was artistically handled in the same manner as the silhouettes, yet the head was completely painted in watercolor. Additional examples have been noted in other collections.9 A work very similar to that shown in figure 8 also displays a pair of pendant, hollow-cut portraits in an original decorated mat with sawtooth oval apertures HI Both works display similar decorative motifs and are housed within stenciled frames. The fact that two complete examples have been recorded suggests that the artist offered the decorated mats and frames as an additional service. Though no certain biographical data is available on this particular artist, it is thought that he worked in New England.


The unknown artist whose work is illustrated in figure 9 takes a giant step forward by introducing bold color that covers the entire body. The color adds considerably to the visual experience, escalating the folk aesthetic further, while entirely dismissing any consideration of a light source. In this and other works attributed to the same hand, the triangle addressing the shoulder area slopes severely downward. The hand closer to the viewer is tiny and almost always holds a book. The opposite hand is always hidden behind the sitter. This artist employs the use of gum arabic, a vamishlike substance, which produces a glossy highlight effect. He or she is believed to have created both silhouettes and fully painted profile portraits.11 No biographical information is available. The silhouette artist who in my opinion ranks among the finest is represented in figure 10. The work of this artist appears on the scene suddenly in the year 1830, continues until 1831, and just as abruptly stops. This is odd because, based on the number of surviving examples, it is clear that the artist's work was well received. One would have expected the artist to have continued working, like so many other portrait artists, until the invention of photography drove him out of business. That the work appears fully developed suggests that this artist may have been working for some time in a different medium and then around 1830 began creating silhouettes. It would not surprise me if, when a signed example does surface, it turns out to be the work of a recognized artist with whom we are already familiar. In the meantime, this artist has been referred to as the "Puffy Sleeve Artist."12 After seeing a few examples, one can see why the name stuck. The distinguishing feature of this work, and clearly present in all examples, is a puffy sleeve on an arm that appears somewhat dislocated from the sitter's shoulder. Despite the obvious distortion, the figures appear elegant in their presentation. The heads of the silhouettes are hollow-cut and laid over black paper or fabric. The bodies are first pencil-drawn and then painted in watercolor. If you look closely, you can see the evidence of the preliminary pencil marking: a kind of loop at the sitter's shoulder. Similar marking occurs at the bustline. This artist worked in New England and appears to have been itinerant, as examples "have been found in New Hampshire, Vermont, and Massachusetts." No other biographical information is available. The work of the "Puffy Sleeve Artist" includes all the characteristics of an accomplished folk portrait of the period. Bold color is used without hesitation. The light source is of no concern to the artist; the accuracy of the decorative elements and their visual presentation to the viewer are of the utmost importance. The figures, while abstract, are clearly portraits and capture individualistic features and personality. The artist adds decorative accessories conforming to the tradition of the day. Both hands are often illustrated, and the hand that appears farthest from the viewer holds some accessory. Books are added to suggest literacy, and fashions are readable and correspond to full-size fully developed portraits of the period. Images of women include accessories such as jewelry, ribbons, organdy collars, and pocketbooks. In portraits of gentleman, books, canes, and hats suggest the refinement of the sitter.






Figure 4 HOLLOW-CUT SILHOUEITE OF A MAN Artist unidentified* Probably New England c. 1835 Cut paper and watercolor on paper; pressed brass supported by a wood frame Via 25/." Collection of the American Folk Art Museum, gift of Robert Bishop, 1985.28.2 * At this writing, the author believes that this work can be attributed to lames Hosley Whitcomb

Figure 5 HOLLOW-CUT SILHOUETTE OF MR. W.M. MA1THEWS James Hosley Whitcomb New England c. 1830 Cut paper and watercolor on paper Dimensions unavailable Present whereabouts unknown Photograph courtesy Dover Publications, Inc.

Figure 6 HOLLOW-CUT SILHOUETTE OF A WOMAN Artist unidentified Probably New England c. 1835 Cut paper and watercolor on paper; pressed brass supported by wood frame 3W10 2%" Collection of the American Folk Art Museum, gift of Robert Bishop, 1985.28.3

Figure 7 HOLLOW-CUT SILHOUEITE OF A WOMAN Artist unidentified Probably New England c. 1830-1835 Cut paper and watercolor on paper; pressed brass supported by wood frame 2"(framed) 1 41343 x 4/ Collection of the author

Figure 8 PAIR OF PENDANT HOLLOW-CUT SILHOUEITES OF RODERICK AND ELIZA ADAMS FULLER Identified on the reverse as Roderick and Eliza Adams Fuller, married 1827 Artist unidentified Probably New England c. 1830 Cut paper and watercolor on paper; original decorated paper mat and stenciled wood frame 93/10(framed) Present whereabouts unknown Photograph courtesy of Gary E. Heimbuch, Boonsboro, Maryland


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Silhouettes were a popular form of portraiture at a time in America when to have any image of oneself or of loved ones was something of a luxury. We can trace this art from the earliest and most basic profile image, a contrast of black and white, through several stages, which included modest embellishment, to the point where the embellishment becomes more detailed and elegantly refined. The light source that was such a primary issue in the early images gradually loses importance. Color is introduced, at first sparingly and then boldly. Finally, through developments that take place over fifty years or so, we arrive at the pinnacleâ&#x20AC;&#x201D;portraits created by the "Puffy Sleeve Artist." Though small in size, they fulfill all of the aesthetic criteria necessary to solidly place them among the most fully developed images of the silhouette portrait variety. A "Puffy Sleeve Artist" silhouette is included in Treasures of American Folk Artfrom the Abby Aldrich Rockefeller Folk Art Center," a testament to its importance as an example of exceptional folk expression. *

Figure 9 HOLLOW-CUT SILHOUETTE OF A WOMAN Artist unidentified Probably New England C. 1830 Cut paper and watercolor on paper; original painted wood frame 5 4/"(framed) Collection of the author

Vincent DiCicco, a student at the Museum's Folk Art Institute, is presently working toward a Museum Certificate in Folk Art Studies. An avid collector ofAmenicanfolk art with a particular interest in silhouette portraits, DiCicco has been collecting and researching the art ofthe silhouette since 1989. He wishes to acknowledge his wife, Stephanie,for it is through her patience and encouragement that both the collection and this essay were made possible.

NOTES 1 Alice Van Leer Carrick,Shades ofOur Ancestors: American Profiles and Profilists(Boston: Little, Brown & Co., 1928), 19. 2 Ibid., p. vii. 3 Blume J. Rifken, Silhouettes in America, 1790-1840: A Collector's Guide (Burlington, Vt.: Paradigm Press,Inc., 1987),65. 4 Carrick, op.cit., 121. 5 Ibid., 121. 6 Rifkin, op. cit., 5. 7 Donna-Belle Garvin,"Family Reunited: A Tale of Two Auctions," New Hampshire Historical Society Newsletter (Concord, N.H.:, Volume 29, No. 1, Spring 1991),2. 8 Ibid., 1. 9 Beatrix T. Rumford,American Folk Portraits: Paintings and Drawingsfrom the Abby Aldrich Rockefeller Folk Art Center (Boston: New York Graphic Society, in association with the Colonial Williamsburg Foundation, 1981), 257. 10 Richard W. Withington, auction catalog,Important Estate Auction: Early American Antiques, Accessories, and SeventyFive Important Silhouettes & Profilesfrom the Emerson Greenaway Collection, Hillsboro, N.H., Friday, August 31, 1990, at 10:00 A.M., lot #58. 11 Mama Anderson, an exhibition catalog, A Loving Likeness: American Folk Portraits ofthe Nineteenth Century, The Gallery at Bristol-Myers Squibb, Princeton, N.J., April 4â&#x20AC;&#x201D;May 17, 1992, 52. 12 Ibid., 44. 13 Ibid., 44. 14 Beatrix T. Rumford, and Carolyn J, Weekely, Treasures of American Folk Artfrom the Abby Aldrich Rockefeller Folk Art Center(Boston: Little Brown and Co., Bulfinch Press, in association with the Colonial Williamsburg Foundation, 1989), 42, figure 22.


Figure 10 HOLLOW-CUT SILHOUETTE OF A WOMAN The "Puffy Sleeve Artist" Found in Shelburne, Vermont c. 1830 Cut paper and watercolor on paper; period gilded wood frame 5 4V." Wanted) Collection of the author






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

COLLECTION New Directions * American Folk Art Museum Collection The Museum's new logo will soon appear on products. Please let us know the first time you see it.

* Ozone Designs,Inc. Toasty toes.... Three quilts from the Museum's permanent collection are the inspiration for a trio of socks by Ozone Designs. Look for Diamond in the Square, Tumbling Blocks, and Log Cabin, appearing this fall. *Denyse Schmidt Quilts A Feast for the Eyes .... A limited edition series of king-, queen-, and twin-size quilts inspired by the Museum's permanent collection will soon be available from Denyse Schmidt Quilts. In addition, look for decorative pillows and eye pillows, featuring quilt designs adapted from the Museum's extensive quilt collection. Products will be available this fall. 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,

Inc. TV-tested.. . This year we're proud to announce the Museum's collection of bedcovers by American Pacific will be featured once again on QVC. Look for the next Museum/QVC Folk Art Hour Show this October. We know some of you saw Elizabeth Warren when she

appeared on QVC in April and June. Quilt enthusiasts from as far away as Hawaii called in with praise for the collection. In fact, the April show produced a special QVC momentâ&#x20AC;&#x201D;it was the first time a man called in to order a quilt for himself. Creative decorating ideas were a unique part of the show as well. Highlights from the April show are featured in this column. How many different design ideas are new to you? 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 Dear

celebrate the style, craft, and tradition of American folk art. If you have any questions or comments regarding the American Folk Art Museum CollectionTM, please contact us at 212/977-7170. American Pacific: Room Settings from Amil 2001 Museum/QVC Show Family of Licensees American Pacific Enterprises (415/782-1250)quilts, shams, and and tree ornaments.* On The Wall Producpillows. Carvin Folk Art Designs,Inc. tions, Inc.(800/788-4044) Magic Cubes.* (212/755-6474)gold-plated and enameled jewOrganic Lands(607/544-1090)organic deli elry.* Denyse Schmidt Quilts(800/621-9017) items. Ozone Designs,Inc.(212/563-2990) limited edition quilt collection, decorative pilsocks.* Takashimaya Company,Ltd. lows,and eye pillows.* Fotofolio (212/226(212/350-0550) home furnishings and decora0923)art postcard books, wooden postcards, tive accessories (available only in Japan). boxed note cards, and magnets.* Galison Timeframed (313/885-1399)limited editions (212/354-8840) boxed note cards.* Gallery of unique collectibles. Wild Apple Graphics, sachets, scarves, and Partners(718/797-2547) Ltd.(800/756-8359)fine art reproduction ties.* LiquidArt,Ltd.(312/644-0251)digital prints and posters.* art reproduction screensavers. Manticore Inc. (800/782-2645) mouse pads, screen savers, *Available in the American Folk Art Museum coasters, note cubes. Mary Myers Studio Book and Gift Shop. (800/829-9603) wooden nutcrackers, nodders,







BOARD OF TRUSTEES Executive Committee Ralph 0. Esmerian Chairman ofthe Board L. John Wilkerson President Frances Sirota Martinson Esq. Executive Vice President and Chairman, Executive Committee Lucy C. Danziger Executive Vice President Joan M.Johnson Vice President Bonnie Strauss Vice President

Barry D. Briskin Treasurer Jacqueline Fowler Secretary Anne Hill Blanchard Joyce B. Cowin Samuel Farber Members Paul W. Caan Barbara Cate Joseph F. Cullman 3rd

David L. Davies Jonathan Green Susan Gutfreund Kristina Johnson Esq. David 'Crashes Nancy Mead George H. Meyer Esq. Cyril I. Nelson Laura Parsons

J. Randall Plummer Julia T. Richie Margaret Z. Robson Selig D.Sacks Esq. Nathaniel J. Sutton Thaddeus S. Woods Trustees Emeriti Cordelia Hamilton George F. Shaskan Jr.

Donors to the Capital Campaign The American Folk Art Museum has announced a $34.5 million campaign to construct and endow a new home on West 53rd Street. As of July 11, 2001 the following donors have contributed $29,999,049: James M.& Gail K. Addiss Alconda-Owsley Foundation George R. Allen/Gordon L. WyckoffRaccoon Creek Antiques American Folk Art Society Mama Anderson Marie T. Annoual Aarne Anton Barbara Ardizone R.R. Atkins Foundation Marcia Bain Judy & Barry Bell in honor of Alice & Ron Hoffman Bankers Trust Company Barn Star Productions, Inc. Joyce & Ron Bassin/Bird In Hand Mrs. Arthur M. Berger Big Apple Wrecking & Construction Corporation Diana H. Bittel Edward V. Blanchard & M. Anne Hill Blanchette Hooker Rockefeller Fund Mr. and Mrs. James A. Block Bloomberg L.P. Booth Ferris Foundation Edith S.& Barry D. Brislcin/Shirley K. Schlafer Foundation Florence Brody The Brown Foundation, Inc. Houston. Curtis F. Brown, Hayden Goldberg Mr. and Mrs. Edward James Brown Jim Burk Antique Shows Marcy L. Bums/American Indian Arts Paul & Dana Cam Lewis P. Cabot Mr. and Mrs. Donald Campbell Bliss & Brigitte Camochan Caterpillar Foundation John W. Castello,In Memory of Adele Earnest Edward Lee Cave Virginia G. Cave Shari Cavin & Randall Morris Sharon S. Cheeseman Christie's Richard & Teresa Ciccotelli Barbara L. Claster Lori Cohen Alexis & George Contos Mrs. Daniel Cowin Mr. and Mrs. Edgar M.Cullman Elissa F.& Edgar M.Cullman Jr.


Joe & Joan Cullman Susan R. Cullman Kendra & Allan Daniel David & Sheena Danziger Lucy & Mike Danziger Peggy & Richard M. Danziger David L. Davies Darwin/Carolinn Pocher & William Woody H. Richard Dietrich, Jr. Colette & Jim Donovan Doyle New York/Kathleen M.Doyle Deborah & Arnold Dunn Ray & Susan Egan Gloria Einbender Joyce Eppler Ralph 0. Esmerian In Memory of Heila D. Everard Sam & Betsey Farber Bequest of Eva & Morris Feld M.Finkel & Daughter Fireman's Fund Insurance Company Laura Fisher/Antique Quilts & Americana Jacqueline Fowler Gretchen Freeman & Alan Silverman Furthermore, the publication program of the J.M. Kaplan Fund Galerie S. Etienne, Inc. Gallery of Graphic Arts, Ltd. Rebecca & Michael Gainzon Garth's Auctions, Inc. Sidney & Sandra Gecker Morad Ghadamian Sima Ghadamian James & Nancy Glazer Mr. and Mrs. Merle H. Glick Russ & Karen Goldberger Tracy Goodnow Art & Antiques Ellin & Baron Gordon Howard Graff Jonathan Green Greene & Mays American Antiques Marion E. Greene Blanche Greenstein & Thomas Woodard Peg & Judd Gregory Bonnie Grossman/The Ames Gallery Pat Guttunan Alan and Elaine Haid Cordelia Hamilton Deborah Harding Marion Harris & Jerry Rosenfeld Harvey Art & Antiques Audrey Heckler Donald Heller, Heller/Washam Nina Hellman Jeffrey Henkel Mr. and Mrs. George Henry Mr. and Mrs. Samuel Herrup The High Five Foundation

Frederick D. Hill Pamela & Timothy Hill The Hirschhorn Foundation, Robert & Marjorie Hirschhom,Carolyn Hirshhorn Schenker Historical Society of Early American Decoration Ellen E. Howe Peter D. Hynson Antiques Paul Ingersoll Thomas Isenberg In Memory of Laura N. Israel Johnson and Johnson Joan & Victor Johnson Kristina Johnson Esq. Louise & George ICaminow Julie & Sandy Palley and Samuel & Rebecca Kardon Foundation Allan & Penny Katz Edwin U. Keates, MD Richard Kemble & George Kern, Forager House Collection Leigh Keno Susan & Robert Klein Nancy Knudsen Nancy Kollisch & Jeffrey Pressman Joel & Kate Kopp Greg K. Kramer David 'Crashes William & Karen Lauder Wendy & Mel Lavitt The Edith and Herbert Lehman Foundation, Inc. John A. Levin & Co., Inc. Levy Charitable Trust The Liman Foundation Lipman Family Foundation The 2000 Lipman Fellows In Memory of Zeke Liverant Maine Antique Digest Jolie Keller & Michael Malce Paul Martinson, Frances Martinson & Howard Graff Hi memory of Burt Martinson Mr. and Mrs. Christopher Mayer Milly McGehee Mr. and Mrs. Dana G. Mead Robert and Meryl Meltzer George H. Meyer Judith & James Milne Sandra Moers Keith & Lauren Morgan Cyril Irwin Nelson New York City Department of Cultural Affairs New York State Thurston Nichols Northeast Auctions, Ronald Bourgeault Odd Fellows Antiques

Bequest of Mattie Lou O'Kelley Olde Hope Antiques The Overbrook Foundation The Parsons Family Foundation Philip Morris Companies,Inc. Eloise Paula Harvey S. Shipley Miller & J. Randall Plununer Frank & Barbara Pollack Lucile & Maurice Pollak Fund Wayne Pratt, Inc. Jackie Radwin Christopher T. Rebell째 Antiques Ricco/Maresca Gallery Julia & Leroy Richie Marguerite Riordan John & Margaret Robson Foundation F. Antiques & Books,Inc. Selig D.Sacks Mary Sams-Ballyhack Antiques Peter L. Schaffer Shirley K. Schlafer Memorial Fund The Peter Jay Sharp Foundation In Honor of George Shaskan The George and Myra Shaskan Foundation, Inc. Elle Shushan Arthur & Suzanne Shawe John Sideli Skinner, Inc., Auctioneers and Appraisers of Antiques and Fine Art Sanford L. Smith & Patricia Lynch Smith Sarah Barr Snook Elliott & Grace Snyder Mr. and Mrs. Peter J. Solomon Sotheby's The Splendid Peasant/Martin & Kitty Jacobs Stella Show Mgmt. Co. Rachel & Donald Strauber Bonnie & Tom Strauss The R. David Sudarsky Charitable Foundation Nathaniel J. Sutton Takashimaya Co., Ltd. Richard & Maureen Taylor Jeffrey Tilton Antiques Peter Tillou Jean I. & Raymond S. Troubh Fund Tucker Station Antiques Jacob & Ray Van Gelder David & Jane Walentas Clifford A. Wallach Don Walters & Mary Benisek Warburg Pincus Weeden Foundation Mr. and Mrs. Alan N. Weeden Well, Gotshal & Manges LLP Frederick S. Weiser


David M.Weiss Jay & Meryl Weiss Ed Weissman Ben Wertkin

David Wheatcroft John & Barbara Wilkerson John Wilmerding Charles & Phyllis Wilson

Robert & Anne Wilson Dr. Joseph M.& Janet H. Winston Susan Yecies J. Evelyn Yoder

Shelly Zegart Antique Quilts Jon & Rebecca Zoler Six anonymous donors

Joan & Martin Messinger Gladys Nilsson & Jim Nutt J. Randall Plummer Mr. & Mrs. Mortimer Propp William D. Rondina Peter L. Schaffer Carol P. Schatt Jean S.& Frederic A. Sharf Steve Simons & Cheryl Rivers R. Scudder & Helen Smith Raymond & Linda Simon Richard & Stephanie Solar Mr.& Mrs. David Stein Donald & Rachel Strauber Barbara Trueman Don Walters & Mary Benisek Donald & Pat Weeden The Zankel Fund One anonymous donor

Terry B. Heled Thomas Isenberg Theodore J. Israel Mr. & Mrs. Thomas C. Israel Louise & George Kaminow Allan & Penny Katz Joel & Kate Kopp Robert A. Landau Mr.& Mrs. Lawrence J. Lasser Naomi Leff Glorya & Fred Leighton Barbara S. Levinson Mr.& Mrs. Carl M.Lindberg Carl D. LobeII & Kate Stettner Macy's East Nancy B. Maddrey Jane Marcher Charitable Foundation C. Mattsson The Helen R.& Harold C. Mayer Foundation Mrs. Myron L. Mayer Judith & James Milne Donald & Cynthia Murphy Judith & Bernard Newman David O'Connor Philip V.Oppenheimer & Mary Close Mr.& Mrs. Francis C. Parson Jr. Mr.& Mrs. Daniel Pollack Polo Ralph Lauren Jack & Roberta E. Rabin Irene Reichert Mr.& Mrs. Keith Reinhard Betty Ring William D. Rondina Mr.& Mrs. Daniel Rose Mr. & Mrs. Jeff T. Rose Howard J. Rubenstein Stella Rubin Antiques Riccardo Salmona The San Diego Foundation Channaine & Maurice Kaplan Fund Mr. & Mrs. Henry B. Schacht Kerry Schuss Semlitz Glaser Foundation Harvey S. Shipley Miller Myron B. & Cecile B. Shure Hardwicke Simmons Nell Singer Donna & Elliott Slade Mr.& Mrs. Richard Solomon Patricia & Robert Stempel Maryann Sudo Doris & Stanley Tananbaum Mr.& Mrs. Jeff Tarr David Teiger Dennis Thomas Mr.& Mrs. James S. Tisch Mr.& Mrs. Laurence Tisch Peter & Lynn Tishman Mr.& Mrs. Barry Tucker Ms. Karel F. Wahrsager Mr.& Mrs. David C. Walentas Clinton Walker Foundation Mr.& Mrs. Charles G. Ward III Irwin H.& Elizabeth V. Warren Alan N.& Barbara Weeden Mr.& Mrs. John L. Weinberg Gerard C. Wertkin Janis & William Weisman G. Marc Whitehead


John & Margaret Robson Three anonymous donors

The Shirley Schlafer Foundation Schlumberger Foundation, Inc. Nathaniel J. Sutton Tenneco The Wilkerson Family Charitable Lead Trust One anonymous donor



Ralph 0.Esmerian Samuel & Betsey Farber Mr.& Mrs. Vincent Mai New York State Department of Parks & Recreation One anonymous donor

ABC,Inc. Amicus Foundation, Inc. AOL Time Warner, Inc. The Bay Foundation Edward J. & Margaret Brown Con Edison Deutsche Bank Steven Ente in memory of Ellin Ente Eric J. & Anne Gleacher Goldman,Sachs & Co. Mr.& Mrs. Richard Herbst Johnson & Johnson Family of Companies Jerry & Susan Lauren The Magazine Group Marstrand Foundation Marvin Kagan,Inc. Mr.& Mrs. Gerald M.Lodge The Maine Lou O'Kelley Memorial Trust MBNA America, N.A. Neuberger Berman,LLC Pheasant Hill Foundation Philip Morris Companies Inc. Ricco/Maresca Gallery The Ida & William Rosenthal Foundation Inc. Mr.& Mrs. Marvin Schwartz The William P.& Gertrude Schweitzer Foundation,Inc. Frederic A.& Jean S. Sharf The George F. and Myra Shaskan Foundation, Inc. Bennett & Judie Weinstock Robert N. Wilson Two anonymous donors

The American Folk Art Museum greatly appreciates the generous support of the following friends:

$100,000 and above

$49,999420,000 The ACTUS Foundation Edward V. Blanchard & M. Anne Hill Edith S. & Barry D. Briskin Burnett Group Mrs. Daniel Cowin Joseph F. Cullman 3rd Lucy C.& Frederick M.Danzinger David L. Davies & Jack Weeden Virginia S. Esmerian Jacqueline Fowler Mr.& Mrs. John H. Gutfreund The Lipman Family Foundation, Inc. Frances &rota Martinson Esq. National Financial Partners Joseph Martinson Memorial Fund Mr.& Mrs. Dana G. Mead George H. Meyer Esq. New York City Department of Cultural Affairs Mr.& Mrs. Richard D.Parsons Pfizer, Inc. The Ridgefield Foundation Barbara & Thomas W.Strauss Fund Elizabeth & Geoffrey A. Stem , The Andy Warhol Foundation for the Visual Arts, Inc. John & Barbara Wilkerson Two anonymous donors

$19,999-810,000 Bear, Steams & Co. Inc. Brooklyn Digital Foundry The John R. and Dorothy D. Caples Fund Country Living magazine William Doyle Galleries Douglas E. Ente in memory of Ellin Ente Furthermore, the publication program of the J.M. Kaplan Fund Joan M.& Victor L. Johnson Johnson & Johnson Family of Companies Employee Matching Gifts Program Barbara & David 'Crashes Taryn & Mark Leavitt Leir Charitable Trusts Mr.& Mrs. Keith Morgan J.P. Morgan & Co., Inc. The Parsons Family Foundation The Pinkerton Foundation Dorothea & Leo Rabldn Julia T.& Leroy Richie The Ida and William Rosenthal Foundation, Inc. Selig D. Sacks

83,999-$2,000 Jeremy L. Banta Elizabeth C. Bogner Robert & Kathy Booth Richard & Marian Bott Marjorie Chester Mr.& Mrs. Edgar M.Cullman Charles E. Culpeper Fund Peggy & Richard M.Danziger Duane, Morris & Heckscher TJ. Dermot Dunphy Mr.& Mrs. Alfred C. Eckert III Fastsigns Burton & Helaine Fendelman in memory of Ellin Ente Barry & Merle Ginsburg Vira Hladun Goldman Su-Ellyn Goldstein Jeffrey & Lisa Grand Kristina Johnson Esq. Robert & Luise Kleinberg JoCarole & Ronald S. Lauder Dan W.Lufkin & Silvia Kramer Anthony J. Petullo Foundation, Inc. Manoogian Simone Foundation The Mayer-Phillips Foundation

$1,999-81,000 Ted Alfond Deborah & James Ash Didi & David Barrett Daniel Berman Mrs. Peter Bing Mr. & Mrs. James A. Block Thomas Block & Marilyn Friedman Mr. & Mrs. Bernard Brennan IV Marvin & Lois P. Broder Brenda Brody Paul & Dana Cans Circuit City Foundation Citicorp Foundation Matching Gifts Program Liz Claiborne Foundation The Coach Dairy Goat Farm Susan R. Cullman William Cyr Allan & Kendra Daniel Aaron & Judy Daniels Michael Del Castello David & Sheena Danziger Gary Davenport Derrel B. DePasse Maureen D. Donovan Kathleen M.Doyle Nancy Druckman The Echo Foundation Gloria G. Einbender Janey Fire & John Kalynmios Laura Fisher/Antique Quilts & Americana Florian Papp, Inc. Charlotte Frank Maxine & Stuart Frankel Foundation Jill Gallagher Daniel & Llama Gantt David A. Gardner Mr.& Mrs. James R. Gardner Roger L. Garrett Mr.& Mrs. Bruce Geismar Dr. Kurt A. Gitter & Ms. Alice Yelen Barbara Gordon & Steve Cannon Baron J. & Ellen Gordon Jonathan Green Studios, Inc. Susan Green Nancy & Ben Greenberg Fund Gayle Greenhill Cordelia Hamilton Mr. & Mrs. James Harithas


ARTS Sat., Sept. 29, 10 a.m. / Sun. Sept. 30 11 a.m.

Preview Times • Thursday, September 27, 10 a.m.-5p.m. • Friday, September 28, 10 a.m.-4p.m.Catered 4-8p.m.All welcome, hope you stay!

The Personal Collection of Sandra Mitchell: 19th and 20th Century Folk Art,American Indian Items, Pottery, Furniture And Her Extensive Reference Library On the premises of GARTH'S AUCTIONS,INC. 2690 Stratford Road, P.O. Box 369 Delaware, Ohio 43015 Auctioneers:Tom Porter, Steve Bemiller and JeffJeffers

Telephone: 740-362-4771 Fax: 740-363-0164 Web site: 13% Buyer's Premium 10% Buyer's Premium if Paid by Cash or Check. Absentee Bids Accepted.



Color Illustrated Catalogue Available: $18.00

DONORS Continuedfrom page 49

Michael Willoughby & Associates, Ltd. Dr. & Mrs. Joseph M. Winston John & Phyllis Wishnick Laurie Wolfe & Ann C.S. Benton Ms.Teri Wilford Wood and Mr. John Busey Wood Anonymous in honor of Gerard C. Wertkin Yale R. Burge Antiques Three anonymous donors 8999â&#x20AC;&#x201D;$500 The Acorn Foundation A. Marshall Acuff, Jr. Joan H. Adler Alexander Gallery Ms. Mary Lou Alpert Richard C. & Ingrid Anderson Anton Haardt Foundation Mr.& Mrs. Al Bachman Frank & June Barsalona Mr.& Mrs. Barry Beil Charles Benenson Leonard Block Jeffrey & Tina Bolton Marilyn & Orren Bradley Marc & Laurie ICrasny Brown Deborah Bush Laurie Carmody Mr.& Mrs. Dick Cashin The Chase Manhattan Foundation Matching Gift Program Mr. & Mrs. Robert Cochran Maggie Cohen Mrs.Phyllis Collins Stephen H.Cooper & Prof. Karen Gross Country Floors, Inc. Judy Cowen Michael F. Coyne & Monica Longworth Karen L.Cramer Simon Critchell Mary G. Cullen Mr.& Mrs. Lewis Cullman Kathryn M.Curran Debevoise & Plimpton Don & Marion DeWitt Mr.& Mrs. Gerald T. DiManno Cynthia Drasner Louis Dreyfus Corporation Arnold & Debbie Dunn Edward Clifford Duffell III

Shirley Durst Mr.& Mrs. James A. Edmonds,Jr. Raymond C. Egan Mr.& Mrs. Alvin Einbender Gloria Einbender Epstein Philanthropies Ross & Gladys Faires Robert & Bobbie Falk Burton & Helaine Fendelman Mr.& Mrs. Scott Fine Pamela J. Hoiles Firszt Annie Fisher Erin Flanagan Jane Fonda Evelyn Frank Ken & Brenda Fritz Denise Froelich Dale G. Frost Margaret A. Gilliam Elizabeth Gilmore Mrs. Bruce Gimbel William L. & Mildred Gladstone Kelly Gonda Baron J. & Ellin Gordon Mrs. Terry S. Gottlieb Howard M.Graff Robert M. Greenberg Nanette & Irvin Greif Ronald & Susan L. Grudziecki Susan Rosenberg Gurman Irwin Guttag in memory of Ms. Frances Vogel Mr.& Mrs. William P. Hayes Audrey B. Heckler Mr.& Mrs. Tom Hess Stephen Hessler & Mary Ellen Vehlow Leonard & Arlene Hochman Mr.& Mrs. Robert Hodes John & Laima Hood Mr.& Mrs. Fred Imberman Michael T. Incantalupo Mr.& Mrs. Ken Iscol Pepi & Vera Jelinek Betty Wold Johnson & Douglas F. Bushnell Brenda L. Johnson Guy Johnson Richard T. Kanter Maurice & Channaine Kaplan Nancy ICarlins-Thoman

Sherry Kass & Scott Tracy Steven & Helen Kellogg Ms. Joan E. Kend Arthur & Sybil Kern Mary Kenaneh John J. Kirby, Jr. Barbara S. Klinger Sherry Kronenfeld Mr.& Mrs. Theodore A. Kurz Elizabeth Larson Laura Lauder Mr.& Mrs. Leonard A. Lauder Wendy & Mel Lavitt Judith Lewis Robert A. Lewis Stanley A. Lewis Lewis Mittman, Inc. Sherwin & Shirley Lindenbaum Gloria & Patrick Lonergan Michael T. Martin Mr.& Mrs. Jonathan Marvel Al Marzorini Kelley McDowell Emily McMahon M.P. McNellis Grete Meihnan Mr. & Mrs. Robert Meltzer Michael & Gael Mendelsohn Robert & Joyce Menschel Evelyn S. Meyer Frank J. Miele Timothy & Virginia Millhiser Joy Moos Kathy S. Moses Museums New York Leslie Muth Gallery Ann & Walter Nathan Cyril I. Nelson Mr.& Mrs. Bruce Newman Rachel B. Newman David Nichols Nancy Ann Oettinger Mr.& Mrs. John E. Oilman Robert & Stephanie Olmsted Paul L. & Nancy Oppenheimer David Passerman Bob Patton & Busser Howell Dr. Burton W.Pearl Janet S. Petry Mr.& Mrs. Laurence B. Pike

Mr.& Mrs. F.F. Randolph, Jr. Paige Rense Dr. & Mrs. Roger Rose Abbey Rosenwald Robert A. Roth Frank & Nancy Russell Johnes Ruta Merilyn Sandin-Zarlengo Mr. & Mrs. Robert T. Schaffner Jane A.Shang Paul J. Schatt Margaret Schmidt Mr.& Mrs. Carl J. Schmitt Mr.& Mrs. Jospeh D.Shein Robert & Minda Shein Mr.& Mrs. Ronald Shelp Bruce B. Shelton Joel & Susan Simon Philanthropic Fund Michael Simon Arun & Barbara Singh Rita A. Sklar John & Stephanie Smither Theresa Snyder Karen Sobotka Peter J. Solomon Kathryn Staley Mr. & Mrs. Victor Studer Barbara & Donald Tober Foundation Mr. Frank Tosto Dorothy C. Treisman Mr.& Mrs. Raymond S. Troubh United Way of Dutchess County Angela Usrey Mr.& Mrs. Hugh B. Vanderbilt Mr.& Mrs. Joseph Viener Robert & Ruth Vogele Jennifer Walker Herbert Well In honor of Bennett Weinstock from his Friends Margaret Wenstrup Susi Wuennenberg Tim & Nina Zagat Diana Zanganas Louis & Susan Zinterhofer Jon & Rebecca Zoler Two anonymous donors

Gloria Einbender Su-Ellyn Goldstein Peter & Barbara Goodman Howard M.Graff Mr. Richard W.Herbst Harvey Kahn Susan Kleckner Susan & Jerry Lauren Mr.& Mrs. Gerald M.Lodge

Eric J. Maffei Anne & Jeff Miller Keith Morgan Wendy Nadler J. Randall Plummer Cheryl Rivers Luise Ross Carol Peden Schatt Donna & Marvin Schwartz

Jean S.& Frederic A.Sharf Harvey S. Shipley Miller Linda & Ray Simon Mr.& Mrs. R.L Solar Mr. William W.Stahl Jr. Donald & Rachel Strauber Tracy Goodnow Art & Antiques Dr. Sin von Reis Elizabeth V. Warren

Arthur & Sybil Kern Ed & Lee Kogan Stephanie Fowler Levin Frank Maresca George H. Meyer Mr.& Mrs. Richard A. Moore,Jr Cyril Irwin Nelson

Sanford L. Smith Scudder Smith Bonnie & Tom Strauss Kurt Gitter & Alice Rae Yelen Gregory Warmack as Mr. Imagination L. John Wilkerson

JEAN LIPMAN FELLOWS Jeremy L. Banta Mr. Ronald Bourgeault Mary Benisek & Don Walters Edith S. Briskin Edward & Margaret Brown Virginia G. Cave Marjorie Chester Nancy Druckman Andrew Edlin

RECENT DONORS TO THE COLLECTIONS Judith Alexander Barbara Blank & Barry Shapiro Peter P. Cecere Anna K. Conti David L. Davies Mike & Lucy Danziger


Ralph 0. Esmerian Virginia Esmerian Zipporah Fleisher Jacqueline Fowler Ruth P. Horwich Thomas Isenberg Kristina Johnson

Available at Auction 20th Century Folk Art from the tstate ot

Herbert Waide Hemphill, Jr.,

William Edmonson Carved stone dove Provenance: Louise Dahl Wolfe and John Oilman

with proceeds to benefit the Herbert Waide Hemphill Folk Art Fund at the

Smithsonian American Art Museum Presented by

Slotin Folk Art Auction 750 LOTS November 10, 2001 Buford, GA Order your catalog now! Send $25 checks to: Slotin Folk Art Auction 5967 Blackberry Ln. Buford, GA 30518

Bill Traylor Woman with Umb Listed in exhibiti,_ Provenance: Wilkens


770 932-1000 â&#x20AC;˘ 770 932-0506 fax GAL #2864



Philip Morris Supports Inaugural Exhibitions taff members, members of the Museum's board, and Philip Morris representative Patricia Ahrens came together on Tuesday, June 26, inside the Museum's almost completed new building at 45 West 53rd Street for a mostjoyous purpose. In yet another outstanding example of their long-term commitment to the American Folk Art Museum,the Philip Morris Companies presented the Museum with a very generous check in support of

"American Anthem," the inaugural exhibition that will open the new building in December. This contribution represents one of the largest corporate donations in support of an exhibition in the Museum's forty-year history, and the Museum wishes to heartily thank the Philip Moms Companies for their loyalty and continuous support.


webb gallery waxahachie, texas 972 938 8085

Joseph F. Cullman 3rd and his niece Lucy C. Danziger

From left to right: the Museum's Development Director Cheryl Aldridge, Corporate Development Director Diana DeJesus-Medina, Assistant Director of the Capital Campaign Jane McIntosh, and Board President John Wilkerson with the Philip Morris Companies Chairman Emeritus and Museum Board Member Joseph F. Cullman 3rd, the Philip Morris Companies Contributions Administrator Patricia Ahrens, the Museum Board's Executive Vice President Lucy C. Danziger, and Deputy Director 7 Riccardo Salmona.

Inaugural Exhibition Book signing—Nov.15 o herald the opening exhibitions at the Museum's new building, Doyle Galleries, in conjunction with publisher Harry N. Abrams, Inc., is sponsoring a lecture and book signing to celebrate "American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum." The evening—Thursday, Nov. 15, starting at 6:30 Pm, will include a lecture and slide presentation by the Museum's Chairman of the Board and benefactor Ralph Esmerian, with comments

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ANTON HAARDT Grand Opening October 2001 2858 Magazine St. NewOrleans, LA 70115 (504)891-9080 t (504)897-2050 f 55,‘


from Stacy C. Hollander, the exhibition's curator and catalog author. Esmerian and Hollander will sign copies of the catalog, which will be on sale; all proceeds will benefit the Museum. The event is free and open to the public; however, tickets are required. For tickets, please call Doyle New York at 212/427-4141, ext. 600, or e-mail Doyle Galleries is located at 175 East 87th Street in New York City.

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EDLIN FINE ART @SEIREN STUDIOS 601 West 26th Street, Floor 2M NYC 10001 11-6 pm Tuesday - Saturday

212.242.8244 web site

Binocidars, I 998, 32' x 26',

Baltimore Tour—June 2001 olk Art Explorers were introduced to Baltimore's artistic community over three days, beginning with the Maryland Historical Society's exhibition "The Baltimore Album Quilt Tradition." Later, artist Joyce Scott spoke to the group at the Maryland Art Place and showed slides of her work. Then, it was on to the home of Museum members Nan and Iry Greif, who invited all to see their collection of quilts, folk art, and crafts, and who graciously laid out a delightful array of refreshments. The next morning the group toured the Canton neighborhood to see the colorfully painted wire mesh window screens, a unique Baltimore tradition that dates back to the early 1900s. Following the screen tour, it was on to Deale, Md.,to visit the home of collector and author Betty-Carol


Sellen, who served to the group a delicious lunch of Maryland crab cakes and chicken barbecue. A visit to folk artist Paul Darmafall, known as"The Baltimore Glassman," was next on the itinerary. His work incorporates found objects as well as broken glass and has been exhibited at the American Visionary Art Museum. Rebecca Hoffberger, AVAM's founder and director, spent the day,leading a wonderful tour of the museum's current exhibition,"Treasures of the Soul: Who is Rich?" Dinner that night was at the museum's Joy America Café. The final morning was spent at the home of Jeff and Ann Miller. Mr. Miller is the former Curator of Ceramics and Glass at the Smithsonian Museum. The Millers' diverse collection includes cigar store Indians,

— painted furniture, boxes, and Pennsylvania redware. The trip ended with a visit to the Cone Collection at the Baltimore Museum of Art. Special thanks to Nan and Iry Greif, Betty-Carol Sellen and Martha Burt,Paul Darmafall and Bonnie Darmafall, Milinda Jensen, Jeff and Ann Miller, Rebecca Hoffberger, and Ruth and Harry Strauss for their generosity and help. For information about future trips, contact Beth Bergin or Suzannah Schaff of the membership department at 212/977-7170 or e-mail

Museum members Myra Outwater and Sarah Frost in front of a birdhouse collection at the home of Betty-Carol Sellen and Martha Burt.

Rebecca Hoffberger with Paul Darmafall, The Baltimore Glassman."




FALL HARTFORD Graduation and Docent Awards he Museum's Folk Art Institute's commencement and annual docent awards, traditionally accompanied by the Esther Steven Brazer Memorial Lecture, were held on Monday, June 4. This year's ceremony began with a heartfelt opening address by Museum Director Gerard C. Wertldn,followed by a stunning lecture and slide presentation,"Discovering Seventeenth-Century New England," by Jonathan Fairbanks, the Katherine Lane Weems Curator of Decorative Arts and Sculpture (Emeritus) of the Museum of Fine Arts, Boston. Bella Kranz and Fuyu Shiraishi were this year's graduating Fellows. Lee Kogan, director of the Folk Art Institute, spoke on their behalf, and trustee Frances Sirota Martinson Esq., awarded them certificates. Eight new docents were recognized and welcomed into the Museum's presti-


ANTIQUES SHOW September 29 & 30 The Incomparable Source of Period American Antiques

Saturday, 10am-5pm • $8 • Sunday, 1 lam-4pm Free Parking in Legislative Garage State Armory, Broad St., Hartford, CT RT84 WEST, Ex1t48; FtT84 EAST, Exit 48B

A Forbes &"Rimer Show • 207-767-3967 Email: LindaT@maine.mcom


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


gious docent corps. They are: Tania Batley, Myrah Brown Green, Rita Gazarik, Alix Leff, Vanessa Phillips, Kyrstyna Pitula, Judith Weinstein, and Carol Winer. Three-, five-, and eight-year docents were also recognized. A beautiful tea, featuring finger sandwiches, champagne, mimosas,iced tea, and fruit, was served amidst breathtaking floral arrangements—the work of volunteers Deborah Ash and Joan Bloom—to complete this lovely annual event.

Catching a Brass Ring: The Board of Ed Meets the Museum uring the spring 2001 term, six classes from New York City elementary public schools participated in the Museum's school partnership program,"Come to the Carousel." This sequential learning program reaffirms what carousel lovers have always known—that carousels excite the imagination and cultivate creative voices. The poetry and visual expressions made by young children (pre-kindergarten to third grade)capture their delight in learning about carousels at the Museum and in Central Park. Also during the spring term, and for the first time, the Museum collaborated with the Monroe Academy of Visual Art and Design, the only public alternative school of its kind in


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

Graduates Bella Kranz and Fuyu Shiraishi

the Bronx. Students met with the Director and Curator of the Museum's Contemporary Center, Brooke Davis Anderson, and the Museum's Director of Education, Diana Schlesinger, to learn about the curatorial process in order to develop a student-run gallery in their school. The students visited the Museum's exhibition,"ABCD: A Collection of Art Brut," with their classes. Viewing the nontraditional work of self-taught artists "moved the children to create," observed their art teachers. One student created his first artwork (a fullsize figure) this last school year, and another built an architectural model of a building seen in his dreams. This year the Museum will continue working with teachers and students to shape an art gallery for the school.

01/41Dfq0 ARTS

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IM.Eft I A.11 Hairdresser's Sign (Togo)

Popular and Folk Art from Asia, Africa and the Americas Haitian Paintings • Metal Sculpture • Vodou Flags West African Barber Shop Signs•Huichol Paintings Mexican 6.Latin American Folk Carvings 6 Paintings Ethnographic Sculpture, Furniture 6-Textiles 151 N. 3rd Street, Philadelphia, PA 19106 215-922-4041 fax: 215-922-0895



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P LEASE VISIT OUR NEWLY D ESIGNED WEB SITE AT 1510 S. Congress Austin, TX 78704 512.912.1613 emommE


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

Mark your calendars for the following American Folk Art Museum exhibition when it travels to your area during the coming months: Nov. 11, 2001—Feb. 3,2002 ABCD:A Collection of Art Brut John Michael Kohler Arts Center Sheboygan, Wisconsin April 27—Aug. 3,2002 ABCD: A Collection of Art Brut High Museum of Art, Folk Art and Photography Galleries Atlanta Dec. 12, 2002—Mar. 10, 2003 ABCD: A Collection of Art Brut Mennello Museum of American Folk Art Orlando, Florida For further information, please contact Judith Gluck Steinberg, coordinator of traveling exhibitions, American Folk Art Museum,555 West 57th Street, New York, NY 10019-2925, 212/977-7170.

Hopi Kwivikatsina(Navajo) and Honankatsina(Badger) 11 V." and 10'A" tall, Early 20th Century


Announcing the release of

Ralph Fasanella's America „ 2 t,

Ralph Fasanella's America

Ralph Fasanella's America, authored by Paul S. D'Ambrosio, Chief Curator of the New York State Historical Association, is a 176-page book containing 111 illustrations, including 60 color images of Fasanella's paintings. It provides the first comprehensive look at the life and career of New York folk artist and labor activist, Ralph Fasanella. Ralph Fasanella (1914-1997) was a self-taught painter whose body of work is one of the most compelling artistic critiques of post-World War II America. His paintings—bold, colorful, loaded with detail yet unified in composition—speak powerfully of a distinct working-class identity and culture, and of the dignity of labor. Order your copy now at the Fenimore Art Museum Shop. Call (607) 547-1420 for more information.

PLUS! See Ralph Fasanella's America on exhibit at Fenimore Art Museum through December 30,2001. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Fenimore Art Museum•Lake Road,Route 80,Cooperstown,NY•1-888-547-1450•


Intuit: The Center for Intuitive and Outsider Art

Intuit's big ten-year anniversary weekend celebration September 21-23 Friday - party and auction Saturday - Collect-O-Rama Sunday - brunch at private collections View auction items at

Watercolor and Mixed-media Paintings July 8-October 7, 2001 JOHN MICHAEL KOHLER ARTS CENTER 608 New York Avenue, Sheboygan; 920-458-6144; M-W-F 10-5, T-Th 10-8, Sa-Su 10-4 FREE ADMISSION

513 FALL 2001 FOLK ART

Rear Vision 10th Anniversary Retrospective Exhibit Sep. 7 — Nov. 24 Intuit: The Center for Intuitive and Outsider Art 756 N. Milwaukee Ave., Chicago,IL 60622 312.243.9088 fax 312.21+3.9089

September 22, 2001 — January 6, 2002

The Mennello Museum r-ik Art flf Ai 900 East Princeton Street • Orlando, Florida 32803 Monday - Saturday 11 am -5 pm • Sunday noon - 5 pm

407.246.4278 (fax) 407.246.4329 •

•ww00# The Mennello Museum or American Folk Art Orlando. is owned and operated by the City


Joseph Goodhue Chandler(American 1813-18841, Portrait ol Frederick Eugene Bennett August 19 1848. oil on canvas. 37 s 26 04.6 x 68.2 cm) Museum of FIIIVArls, St Petersburg. Florida 6,6 of Edgar William and Boone, Chrysler Garbo


American Folk Art Museum premiers

THE AMERICAN ANTIQUES SHOW January 17-20, 2002 at the Metropolitan Pavilion 125 West 18th Street, New York City Thursday & Friday 11Am-9pm Saturday 11Am-8pm • Sunday NOON-5PM



For ticket information E-mail

Telephone 212. 977. 7170

Gallery, IL • EXHIBITORS: Allan Katz Americana, CT • American Primitive Gallery, NYC • Arthur Guy Kaplan, MD • Ballyhack Antiques/Mary Sams, CT • Carl Hammer • Childs Gallery, MA • Clifford A. Wallach Folk Art & Americana, NY • David L. Good/Sam Forsythe, OH • David Wheatcroft Antiques, MA • Elliott & Grace Snyder, MA TX • James L. Gemini Antiques, Ltd., NYC • Harvey Art & Antiques, IL • Heller-Washam Antiques, ME • The Hill Gallery, MI • H.L. Chalfant Antiques, PA • Jackie Radwin, NY • Price Antiques, PA James M. Kilvington, DE • Jan Whitlock, PA • Jeffrey Tillou Antiques, CT • Joan R. Brownstein/Art & Antiques, NY • John Keith Russell Antiques, & Jean John Sideli, NY *Judith & James Milne, NYC • Kelter-Malce Antiques, NYC • Kirtland H. Crump, CT • Laura Fisher/Antique Quilts & Americana, NYC • Lincoln • Sander, CT • Mark & Marjorie Allen, NH • Melissa Williams & Douglas Solliday, MD • M. Finkel & Daughter, PA • Nathan Liverant & Son, CT • Raccoon Creek Antiques, NJ • Ricco/Maresca Gallery, NYC • Russ & Karen Goldberger/RJG Antiques, NH • Samuel Herrup Antiques, MA • Sidney Gecker/American Folk Art, NYC • Stella Rubin, MD & Co., NM Stephen Score, MA • Stephen B. O'Brien Jr., MA Thomas Schwenke, CT • Throckmorton Fine Art, NYC • Trotta-Bono American Indian Art, NY • W.E. Channing Managed by Keeling, Wainwright Associates, Inc.



Mary Michael Shelley Painted low relief woodcarvings since 1973


Unless otherwise specified, all programs are held at the American Folk Art Museum/Eva and Morris Feld Gallery,2 Lincoln Square, Columbus Avenue between 65 and 66 Streets, New York City. Programs are open to the public, and admission is free. For more information, please call the education department at 212/977-7170, or the gallery at 212/595-9533. THE SPIRIT OF DESIGN: EVENING DISCUSSIONS Presented in conjunction with "Quilted Constructions: The Spirit ofDesign." 6 PM Tuesday,Sept.25 Artists Speak Stacy C. Hollander, senior curator, American Folk Art Museum, moderates a panel of quilters whose work is included in the exhibition.


Thursday, Oct. 11 Genesis of Design Architects Tod Williams and Billie Tsien discuss the design process behind the Museum's new building, and the challenges of building in NYC.

109 Park Place, Ithaca, N.Y.14850



Thursday, Oct. 25 Quilting in Japan: An American Tradition Transformed Fulbright scholar Jacqueline M. Atkins discusses quilting in contemporary Japanese cultures. Thursday, Nov.8 Quilted Tributes Dr. Marlene O'Bryant-Seabrook, fiber artist and retired educator, presents on African American quilting and the subjects addressed by her quilts. Thursday, Nov.29 Contests and the Art Quilt Marikay Waldvogel, quilter, author, and quilt historian, discusses the history of quilt contests from the 1933 World's Fair to the present.





TAKE A BREAK FOR QUILTS Informal, informative curatorial talks held at the Museum. Thursdays, 12-1 PM

Oct. 18 Stacy C. Hollander, senior curator, American Folk Art Museum Nov.15 Elizabeth V. Warren, consulting curator, American Folk Art Museum QUILT DAY Saturday,Oct.6 10-11 AM Exhibition Tour Lee Kogan, director, Folk Art Institute 11 Am-12 noon Story Quilts Michael Cummings, quilt artist 12-4 PM Afternoon Quilt Demonstration Conducted by five metropolitanarea quilt guilds. FAMILY PROGRAMS For information and reservations for family arts workshops, call the gallery at 212/595-9533. A materials fee of $3 is required. Saturday and Sunday, Sept. 15 and 16 12-4 PM Crazy for Quilts: New York Times Arts and Leisure Weekend Workshops facilitated by the Empire Quilters. Saturday,Sept.22 2-4 PM Patchwork Books: New York is Book Country Sundays Sept. 30, Oct. 14, Oct. 28, Nov. 11, Nov.25 2-4 PM Hands-On Workshops

Sept. 20 Paula Nadelstem, quilt artist, author, and teacher The Museum's public programs are made possible in part by the New York City Department of Cultural Affairs and Eda

The New Fall Destination for Antiques & Art

Philadelphia's Fall Antiques Show vt,w Barn Star Productions, Inc. is proud to announce its premier fall event featuring 68 nationally recognized American & European Antiques Specialists

Saturday & Sunday, October 20 & 21, 2001 with Friday Night Preview, October 19 •Period Furniture •Folk Art •Textiles • Ceramics • Fine Art • Metalwares • Garden Decor •Period Accessories •Jewelry • Oriental Rugs At the Naval Business Center, Bldg. #3,5100 S. Broad St., Philadelphia, PA off 1-95 at Exit 14(N/S) For information, call Barn Star Productions, Inc.(845)876-0616 Show Phone (215)462-4400

Classic Rug Collection, Inc. QUILT PATTERNED RUGS & RUNNERS made of laser-cut hand-pieced carpet Each rug is a unique work of art. Custom sizes, colors and patterns. We can make a rug to match your favorite quilt. call for a free catalog 718 369 9011 or 1 888 334 0063 (toll free)


NEW ENGLAND'S 19th ANNUAL ULTIMATE FOLK ART SHOW & SALE! Museum-quality reproductions of American antique furniture and accessories, both country and formal, & contemporary folk art by America's most talented artisans.

SPECIAL FEATURE Exceptional artisans licensed by -SPNEA."the Society for the Preservation of New England Antiquities, will be offering outstanding reproductions from the Society's collection of historic New England homes.

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

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

October 26, 27, 28, 2001 Fn. Oct.26th, 6pm - 10pm, Adm. $8.00 Sat. Oct.27th, 10am - 6pm, Adm. $6.00 Sun. Oct.28th, 11am - 4pm, Adm. $6.00 Travel & Lodging Information (508)460-3747

an art studio & gallery creating opportunities for adults with disabilities through creativity

quilts, pillows & soft sculptures by the artists of Sophie's Gallery and guest artists from The National Institute of Art & Disabilities

September 1 - October 31, 2001 Greeting Cards . Prints . Original Art Brochure Available .


September 26, 2001. 10 a.m. Preview Tuesday, September 25th, 12 5 p.m James D Cyr, Maine Auctioneer #720 Auction Held at Cyr Auction Gallery Rt. 100 North, Gray, Maine 04039 Ph (207)657-5253 Fax:(207)657-5256 Full Color Catalog Available $25 PPD - Email Call for Your Catalog Today!

EPSTEIN/POWELL, 66 Grand St., New York, N.Y. 10013 By Appointment(212) 226-7316 e-mail:

Jesse Aaron Rex Clawson Donovan Durham Antonio Esteves Victor Joseph Gatto (Estate) Lonnie Holley S.L. Jones Charlie Lucas

Justin McCarthy Old Ironsides Pry Popeye Reed Max Romai_n Bill Roseman Jack Savitsky Clarence Stringfield Mose Tolliver and other American outsiders


American Primitive Gallery American Stoneware Collectors The Ames Gallery

2 56 8

Andrew Edlin Fine Arts Anton Haardt Gallery Barn Star Productions,Inc. Cavin-Morris, Inc. Christie's Classic Rug Collection Inc. Country Folk Art Festival Cyr Auction Company David Wheatcroft Epstein/Powell Fleisher/Oilman Gallery Forbes & Turner Garth's Auctions Inc. Gold Goat Antiques Indigo Arts Intuit Jackie Radwin Jan Whitlock

55 54 61 10 13 61 62 63 9


64 Back Cover 56 50,51 17 57 58 3 7

John C. Hill John Michael Kohler Arts Center K.S. Art Kimball Sterling Laura Fisher Antiques Margaret Shaw Mary Michael Shelley Mennello Museum New York State Historical Association Fticco/Maresca Gallery Sidney Gecker Sotheby's Advertising St. Madeleine Sophie's Center Steve Miller Steve Slotin Susan Slyman Thurston Nichols American Antiques Tyrone D. Campbell Gallery Walters/Benisek Webb Gallery Yard Dog Folk Art

57 58 12 62 16 61 60 59 58 Inside Front Cover 18 Inside Back Cover 62 1 53 60 8 12 4 54 57

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Folk Art (Fall 2001)  

Quilted Constructions: The Spirit of Design • Hawkins Bolden • Silhouette Portraiture in America: A Fully Developed Form of Folk Expression

Folk Art (Fall 2001)  

Quilted Constructions: The Spirit of Design • Hawkins Bolden • Silhouette Portraiture in America: A Fully Developed Form of Folk Expression