PORTFOLIO / RECENTLY SOLD:

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Provenance: Donald H. Ladd Antiques; Private Collection.

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An excellent, early work by Outsider Artist Melvin Way. I love Way's work when it looks a bit like matzo!

The Outsider Artist Melvin Way suffers from schizophrenia, bipolar disorder, and diabetes.

Way has stated, “All my works have to go thru emissions, baptisms, and transmigrations before I release them into the stratosphere, I carry 500 drawings at a time in my raincoat, and they go thru rain sleet and snow, sometimes staying in my pocket for 6 months at a time.”

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First-rate sheet of tattoo flash art. All works appear to be by the same hand. This sheet is part of a group that are believed to have been first collected and assempled in the 1940-50s in Texas.

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This small atypical work by Ray Materson from when he was imprisoned in 1994. According to Materson the piece was about redemption — "In 1994, I was in love with my wife (now divorced) and I was less than a year from being paroled from prison. Life was blooming like a beautiful rose and there seemed to be no thorns, no hurts to deal with."

Exhibited at The New Museum, A Labor of Love, January 20 – April 14 1996.

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Thomas King Baker was an insurance underwriter by day, self-taught, basement artist by night. He and his wife, Mila Hoover, were middle-class socialites and enjoyed the opera, galleries, museums and a vibrant nightlife. King was friendly with local artists and was a collector. Among friends and family, his art-making was a poorly kept secret—they knew of his passion but were unaware of the extent of King’s breadth and body of work. King never exhibited while he was alive.

King’s paintings, illustrations, and sketchbooks were exhibited at the Albrecht-Kemper Museum in 1997.

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Thomas King Baker was an insurance underwriter by day, self-taught, basement artist by night. He and his wife, Mila Hoover, were middle-class socialites and enjoyed the opera, galleries, museums and a vibrant nightlife. King was friendly with local artists and was a collector. Among friends and family, his art-making was a poorly kept secret—they knew of his passion but were unaware of the extent of King’s breadth and body of work. King never exhibited while he was alive.

King’s paintings, illustrations, and sketchbooks were exhibited at the Albrecht-Kemper Museum in 1997.

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A strong photo by Tichý with a high contrast between the whites of the woman's tank top and the shadows of her head and body. Tichý added a graphite contour to her back of her leg. Mounted on original Tichý mat.

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An early, strong and haunting work by Lee Gatch. Gatch’s works were exhibited at the American pavilions at the Venice Biennales. Twice he was the subject of comprehensive retrospectives. The first, in 1956, visited the Phillips; the second, four years later, opened at the Whitney Museum in Manhattan and toured the country.

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Amusing allegorical folk art painting of a man fishing on a river or lake with a bear coming up behind him, a thunder storm with sharp lightning, a fish out of the creel, a 'No Trespassing / Private Property' sign, a spilt bottle, and a sinking boat...but there is a rainbow on the horizon! I am not a fisherman, but I guess the message here is, "I'd Rather Be Fishing."

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A fascinating seven page document written by a patient at the DeWitt State Hospital, California (the same hospital and period in which Martín Ramírez was institutionalized). The patient identifies as a “Robert M. Clark, former sherif [sic] of Ventura County,” and writes to “Dr. C. R. Jackson, MD In Charge” about a “morphinism disturbance.” He weaves in a cast of characters and a convoluted story involving morphine, prohibition and the Baptist Synod of Los Angeles to name a few details. The overuse of quote marks is quite remarkable—almost every word is surrounded by " - "s.

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An atypical work by George Morgan who is known for his bird's eye views of Maine towns. The patterning of the flowers is quite extraordinary. Signed, titled and dated on the back and Morgan gives his age as, "age 93 last Oct - 9."

Select Exhibitions: Farnsworth Art Museum, Rockland, ME, "George E. Morgan: Self Taught Painter of Maine" July 16 - October 11, 1998; The Center for Intuitive and Outsider Art, Chicago, IL, "George E. Morgan: Maine Streets" February 5 - April 10, 1999.

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Fantastical painting by Maine Outsider / Folk Artist George E. Morgan. Most of Morgan's paintings are memory paintings, this work features and idealized bird hovering over an idealized landscape of a white picket fence, flowers and green fields. Morgan painted this when he was 94-95 years old.

Select Exhibitions: Farnsworth Art Museum, Rockland, ME, "George E. Morgan: Self Taught Painter of Maine" July 16 - October 11, 1998; The Center for Intuitive and Outsider Art, Chicago, IL, "George E. Morgan: Maine Streets" February 5 - April 10, 1999.

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Bird Family is a large work of a mother bird protecting and feeding three nestlings under her wing. The solid black granite metaphorically reinforces the strength of the matriarch, while Washington's sensitive carving conveys a certain intimacy and the fragility of life.

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A rare, large-sized American Folk Art carnival ball and ring toss figure with cage. The figure with extended left arm and a bread-board like chest painted as a white shirt with a big red tie—his head surmounted atop a blue painted cage.

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A remarkable object that was created without the intention of becoming an art object. The chest is a Japanese lacquer workers "toolbox" a place to keep tools of the trade for making fine lacquer wares. However from daily use, over weeks, months, years the box itself became more a work of art than the individual objects created from it. The surface is rich and complex with layers and layers of black and red lacquer. A dramatic drip is formed over time like an icicle off of a roofline.

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An exuberantly painted Folk Art pine wall box. Found in Maine and sold at the landmark Huntington Sale in Mount Vernon, Maine, 1974 (lot 77). Exceptional paint history and wear to the putty green paint and black squiggles. Unusual in that it was painted on all sides including the back.

Box with wrought (on the bottom) and thin cut nails (on the sides).

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A wonderful twisty burl mass resembling a writhing snake den. One snake is carved from a branch growing through the burl mass, while others have nail eyes upon their suggestive heads.

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Unusual and strange Folk Art Sewer Tile Head of a Woman. Provenance: Herbert Hemphill; Barbara Kristina Johnson; Peter Brams.

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A super, cut and painted aluminum sign that came from a gentlemen's club in Pennsylvania. The carefully spray-painted figures have a bit of iridescence to them from the aluminum substrate coming through.

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A truly exceptional American Folk Art painted object. The hooded doll's cradle is meticulously painted in a multicolored, bold, geometric pattern of squares, rectangles and rays that are likely an interpretaion of a Joseph's Coat of Many Colors (a popular pattern for baby quilts).

The underside is dated. "1874."

Definately a "best of category" type object.

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The painting on this cane is really eye-popping—bright and multi-patterned. The thinly carved stick has a pommel top and paint silimar to peacock feathers. A snake is entwined around the shaft and has a frog in its' mouth—and the poor frog is grasping his tiny arms around the stick. A small lizard is biting the snake at the tail.

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Large one piece carved sculpure of remarkable character and surface. The hefty bear is down on all fours with one hind leg coming through to the front.

Based on extensive experinece with both Woodlands carvings and "white man" folk art, I am inclined to believe that this exquisite carving was carved my a Mesquakie / Meskwaki native (who had a presence in Iowa). The sensitivity of line, character and wood surface are hallmarks of reference and both the creature and craft.

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A fantastic and lively Southern blanket chest (Virginia). Six board chest of deep proportions. Made from southern pine with applied moldings and conical feet. Wavy green and yellow stain all around (except backside). It has been suggested that this may be African American made/painted.

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Who doesn’t love a rebus—even if its just a short one. Unusual stoneware bottle with a three dimensional and realistically glazed eye ball sticking out of one side with the word “opener” below it and a minstrel-like figure dancing on the other side.

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Made by Miller Iron Company, Providence, RI. A very cool and beautiful birdhouse in excellent condition. The details are remarkable—it is quite an amazing job of casting. The house still stands today (no, I have not knocked on their door to see if they want to buy it :)

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A family of eight concrete dolls. Found as a group in Iowa, these “dolls” are unique and mysterious. Sensational surfaces.

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Bold red painted covered carpenters tool box belonging to "W. LAYMEN" who wants you to keep your "HANDS OFF!" Yellow pinstriping and flourishes. New England origin (possibly Maine). Note size...large box...not the size of a knife carrier...much, MUCH larger.

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This small masterwork by Materson recalls a day when Materson as a young teenager skipped school and played strip poker with a couple of older girls. The event was exciting, but not in the way that he had imagined. His figure lay in the scene like Christ with outstretched arms and a loincloth (tighty-whities).

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Possibly a portrait or a tribute to his daughter Rose, who encouraged him to retire from his grocery store and paint. Rose had a cabin in Woodstock, NY—where this cache of works was discovered.

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A large one piece, six paneled erotic painting by self-taught artist Boaretto. Ange Boaretto was a master shoemaker in Southern France and a self-taught painter.

Although he had some recognition during his lifetime and a small exhibit at the Centre Georges Pompidou in 1979, entitled ‘Le Bible du Bottier’ (The Boot-makers Bible), he has largely been forgotten.

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The front is composed of two families at hospital beds. The back illustrates a large Hell Hound, and is a recent discovery found while considering a new mat board—now reframed to show both sides.

A former street preacher who became an artist, poet, and musician, Sister Gertrude Morgan painted biblical themes to illustrate her gospel teachings.

Several of Morgan’s works are part of the exhibit "Outliers and American Vanguard" organized by The National Gallery.

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From the 1820s to the end of the century, the Kennebec River was part of a flourishing ice trade. In the winters, ice from the river was cut into blocks, packed in sawdust, stored in warehouses, and shipped all over the world (as far as India). Because of its purity, ice from the Kennebec was known worldwide as “Kennebec Diamonds.”

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A complex folk art tableau of the Sacred Family; Mary, Joseph and the baby Jesus. Made out of crate wood, the carved and painted figures and elobotate platform were carved by an Italian-American in New York.

Provenance: Hill Gallery, David Wheatcroft, Peter Brams

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I’ve seen a few hand pipes over the years—and this is hands down (pun intended) the very best! Not only for the choice burl specimen or the rich patina, but also for the first-rate modeling and carving of the hand.

Measuring a little less than life-size (so you can cup it in your hand), the fingers are well defined, and the thumb lifts to reveal a tin lined bowl a tin heart.

Best of kind!

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Unique form—expertly and proudly turned with flared rim and finished with gouge carving under the rim. A connoisseur's bowl.

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Carved from the solid, the two figures, face to face are engaged with the woman sitting atop the man. The bottom reveals their bits. Figural carved erotic boxes as such are a great rarity with this example being unique in form.

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After serving in WWI, Hall returned to Georgia and worked as a hotel bell captain, a sorority house busboy and then as a fabricator of concrete blocks for a construction company. It was here that Hall found himself again—working with his hands.

He began making concrete sculpture around his home. His sculpture combined a mix of Christianity with an African conjuring culture that empowered objects with protective powers.

Concrete works from Hall's creative environment rarely come to the market.

Provenance: Barbara Archer Gallery; Larry Dumont Collection.

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An unusual and graphically strong and vibrant American Folk Art hooked rug. It has a very contempory aesthetic and feels like a precursor of early Pop Artist Dorothy Grebenak.

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A fascinating and mysterious carving with nine hands around the stick, interspersed with carpentry tools and lizards. The top has a conjoined shorebird feeding its young and a dog’s head.

Though the meaning is not known—the tools and hands make me think of “helping hands.” Or from a different perspective, the religious act of “laying on of hands.”

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A rare full figural, life sized, Palmist / Fortune Teller / Tarot Cards Sign. Graphically bold in red, white and black paint with a large red hear and bold black question mark (?). First rate surface.

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A striking and unexpected piece - quite large also. Though I have never seen another in the wild, a museum in Sussex, England has a couple related ceramic hedgehogs.

Provenance: Alastair Martin, The Guennol Collection

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Carved from the solid of oak these dynamic carvings have a truly elegant design—with open carving throughout—the dog's tails curve around and under each of their bodies—and the open-work "gills" behind the dogs make for a superb piece of sculpture.

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A mysterious fish-tailed figure constructed of plywood and inlaid with hundreds of mirror slivers. The head is irregularly shaped, more fish or alien than human. But, the body is slender and anthropomorphic with broad shoulders and thin arms. A wave at the base makes it look as if the figure is emerging from the water.

Though its original purpose or creator has been lost to time, it remains a compelling and beautiful sculpture.

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An exceptional example of a large Fred Alten animal. Fred Alten was a machinist in Wyandotte, Michigan and carved animals based on illustrations in Jonson’s Book of Nature. A garage full of his works was found thirty years after his death.

Provenance: Peter Brams; Barbara Johnson

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Probably Ojibwa based on the shape of the bowl. The ladle is one of the smallest that I have ever seen. The oval bowl is thinly hewn and exhibits a beautiful patina.

Due to the scale and limited wear, they were probably part of a medicine bundle. I am not sure if they started life together, as it is difficult to tell, but together they make a special pair.

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A very solid form with a tapered body and a one piece turned top. Old scrubbed surface. Covered burl bowls are quite scarce—of the hundreds and hundreds of burl bowls I have seen, I have only seen less than 25 covered burl bowls.

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This is the best of this type box that I have had or seen. Multiple high relief carved figures with daggers and animals in a maelstrom of chaos. Large size. Lead paper lined.

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An overt twist on the traditional enamel or cowry shell pewter or silver mounted snuff box (and an overtly erotic versus concealed).

A few years ago, I had a similar example with glazed pubic hair—“unshaven” it is slightly more abstract and looks like a Hindu yoni graphic—which, of course represents the vulva.

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A [very] small and intricately carved coquilla nut snuff box in the form of a cockroach or June beetle. This is the smallest figural snuffbox that I have ever seen. Remarkable detail.

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A very good, folky painting of the famous Maine landmark with expressive crashing waves and a cubist blocked rocky coast. Indistinctly signed and dated [19]'29.

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One of Hutson's more mysterious paintings. The beach appears to be aflame with a series of small fires. His composition is sharply divided between the overcast sky, the shoreline, beach and a line of brilliant blue trees. His brushstrokes are fluid and the paint is loose with a fine scumble.

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Garlock discovered Modern Art through Life magazine. The inspiration here might have been one of Matisse’s several goldfish paintings—which Matisse said “brought a soothing, calming influence on the mind.”

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William Fellini was a self-taught painter who worked as a house painter and day laborer in New York City. In his spare time, he would often buy used canvases and paint on the clean side (this painting has a half-finished figure by another hand on the other side).

Though little is known about Fellini except for a few anecdotes, he produced a decent body of work from the late 30s-60s.

His paintings often have a quiet surreal quality or an element of surprise or humor to them. He used his marketable skill as a decorative painter and often incorporated faux marble tabletops as a foundation for his inventive still-lifes.

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William Fellini was a self-taught painter who worked as a house painter and day laborer in New York City. In his spare time, he would often buy used canvases and paint on the clean side (this painting has a half-finished figure by another hand on the other side).

Though little is known about Fellini except for a few anecdotes, he produced a decent body of work from the late 30s-60s.

His paintings often have a quiet surreal quality or an element of surprise or humor to them. He used his marketable skill as a decorative painter and often incorporated faux marble tabletops as a foundation for his inventive still-lifes.

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Part of an important cache of eleven drawings and writings by MW Demorest, an inmate at the Kansas State Insane Asylum in the 1890s. These remarkable drawings provides rare documentation by an actual inmate of an early American mental institution.

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Part of an important cache of eleven drawings and writings by MW Demorest, an inmate at the Kansas State Insane Asylum in the 1890s. These remarkable drawings provides rare documentation by an actual inmate of an early American mental institution.

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Part of an important cache of eleven drawings and writings by MW Demorest, an inmate at the Kansas State Insane Asylum in the 1890s. These remarkable drawings provides rare documentation by an actual inmate of an early American mental institution.

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An early and rare game with an anthropomorphic head in which one feeds marbles into the “mouth” and then by chance of the marble descending through an inner chamber of pins gains points 1-10 or 10-100 (by tens).

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This is quite a remarkable and mysterious work of art. Many “artist unknown” artworks have kept me up at night, and this is no exception.
The work shows the pubic area of thirty-six different women (one shaven). Possibly purposely ambiguous, at first glance the subjects may look like trees, upturned umbrellas, or even tornadoes. (“Hell hath no fury...”)?
The halftone printing enables us to see the subject clearly at arm’s length, but as we move closer, we do not see more detail, we see less—the dots of the printing process decrease the detail and makes it more abstract— thus the labels under each subject (presumably the model’s name) become increasingly unclear.
Process-wise it appears that each subject was photographed, printed, labeled, framed and then shot again—then possibly a composite of the whole was photographed and then printed onto the sheet of stamps.

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Rackliffe’s work was the focus of a retrospective exhibition in 1990 at the New Britain Museum of American Art, CT. which then traveled to the Farnsworth Museum, Rockland, ME.

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Provenance: The John and Pam Finley Collection of Outsider Art.

A bold and complex double- sided Morgan with notations and illustrations from the Book of Revelations, including The Four Horsemen of the Apocalypse.

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Although Miroslav Tichý (1926-2011) was primarily known as a street photographer, he had a remarkable hand for drawing.

In the 1960s Tichý began experimenting with monotype etchings. As with his tools for photography, his materials for engravings were improvised from recycled scraps of metal, plastic or wood. Tichý’s neighbor and come-biographer Roman Buxbaum, observed, “After scratching out the drawing he applied paint with the palm of his hand and then, applying pressure with a spoon, transferred it to paper.” The blurred lines and ink smears from this imperfect process resulted in etchings, not unlike his photographs, filled with a hazy and mysterious atmosphere.

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Mockorange, (Philadelphus), is a shrub with a citrus scent and has white blossoms that bloom in the late spring to early summer. A portion of this painting can be seen in the upper left corner of the photo herein— Jones in her living room/studio.

Ida Jones, the daughter of a former slave, had ten children and at the age of seventy-two began painting. Self-taught, her work focuses on local (Chester County, PA) landscapes, still-lifes and Biblical stories. The Chester County Historical Society held a retrospective exhibit in 1995 and Jones was recently included in “We Speak: Black Artists in Philadelphia, 1920s-1970s," 2015.

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Strong Modernist landscape by an overlooked Baltimore artist. Walker was part of a regional Modernist movement along with her sister and bother-in-law. Though she is mentioned many times in the local Baltimore papers during the 1920-1930's very little biographical information can be found or other examples of her work.

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These five house portraits by the same hand were collected over a couple decades. It is speculated that they originate from Lawrence County, Indiana. They range in date from 1892-1913.

All in period frames.

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Rackliffe’s work was the focus of a retrospective exhibition in 1990 at the New Britain Museum of American Art, CT. which then traveled to the Farnsworth Museum, Rockland, ME.

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A double sided Ray Johnson over a Xerox of an announcement of the “RAY JOHNSON CORRESPONDENCE SCHOOL MEETING SACRAMENTO STATE ART GALLERY 8:30 PM MARCH 26-.” Dated 8.28.93. With “PLEASE SEND TO LEON TROTSY.”

The other side with a screened image of bunny ears over a sideways illustrated bunny head, with the text “EAR DIARY, BY MONTE ZUMA.”

The Soviet Marxist Trotsky was exiled to Mexico and was assassinated there—ergo Monte Zuma... ...Montezuma’s Revenge. And Trotsky kept a diary, and diary sounds like diarrhea... back to Montezuma’s Revenge.

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Chaucer said “idle hands are the devil's tools,” Wood, papier-mâché, textile, gold leaf, so McClintock “while an invalid with the use of metal, paper, polychrome right hand and thumb of left,” took to building Circa: 1920’s this remarkable house property made almost Size: 24" (w) x 24" (h) each entirely of toothpicks. The detail within the scale is remarkable!!

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The Ojibwa and other Native tribes have a long history of using pictographic imagery for storytelling—from medicine scrolls, spirit sticks and in many instances ledger drawings of the Plains Indian tribes.

An old label, attached to the textile, reads, “This is an Indian prayer rug used by the Ojibway and presented by one of the Indians as a friendly and protective offering for kindness received. — E. G. G.”

Though this rare textile is misidentified as a prayer rug (the Ojibway were not weavers) and it is not known if the full textile has any narrative, we may infer that the figures on the upper left may represent Ms. Gustin and the father of the Ojibwa child who may have created the textile for Guston (possibly for religious instruction). The stylized headdresses are quite remarkable and I love the image of the Indian child standing atop the horse.

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The work of Frederick Hastings was discovered a few years ago and much of the details of his life and work remains a mystery.

What is known is that he lived outside of Philadelphia, was an architect and may have had family money. It is also known that he was into trains and built elaborate sets.

The figures are very well made, with steel armatures or skeletons and then carefully modeled with some sort of air-dried clay or modeling putty. Most have applied paper bikinis and several have wigs of cotton or wool. Most of the figures come with hand-made boxes, custom fit to accommodate the size and posture of each.

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Amateur Savoie (1896- 1983, Neguac, NB) was New Brunswick's most famous decoy carver. Known as, "Mat," Savoie was a self-taught barber, cobbler,and important Canadian folk artist who worked along the shores of Tabusintac, New Brunswick. This early confidence decoy is from Savoie's early period and has an overall elegant form. The head pieces are joined cross grain to discourage in-line splitting. The chrome yellow beak stands out beautifully.

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A striking, signature work carved from black granite— the bird is powerfully rendered with a commanding posture.

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An over the top Civil War carved pipe—using the natural form of the root, Wessel carves a recumbent lion, panther, lizard and a snake. Along the body, in relief carved letters, he states, “This / Root was / Found on / the Banks of / the Potomac / Near / Harpers Ferry, This Pipe was / Made By / R. Wessel / A Member / of / the 5 OVI / C.A.”

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These rare Woodlands figures were used by the Mide'wiwin or "Grand Medicine Society" of the Ojibwa Indians. As part of a ceremony for attracting a marriage partner, the figures would be tied face to face and mixed with “love powder” in a bag.

Excerpted from: THE MIDĒ ́WIWIN OR “GRAND MEDICINE SOCIETY” OF THE OJIBWA, by W. J. Hoffman. “This love powder is held in high esteem, and its composition is held a profound secret, to be transmitted only when a great fee is paid. It consists of the following ingredients: Vermilion; powdered snakeroot and a piece of ginseng cut from the bifurcation of the root, and powdered.”

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This is the best of this type box that I have had or seen. Multiple high relief carved figures with daggers and animals in a maelstrom of chaos. Large size. Lead paper lined.

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This is the largest covered ash burl bowl extant. Covered burl bowls are typically of a vague sugar bowl size, this enormous example would have likely been a serving piece brought to the table.

Provenance: DeVere Card, Avis & Rockwell Gardiner, Private, Sam Forsythe & David Good, Leigh Keno

Exhibited: Munson-Williams-Proctor Institute, 1971

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Likely depicting an abstracted Underwater Panther, the whole is masterfully hewn with a sophisticated underlying geometry.

Provenance: Provenance: George Abraham, Herbert Wellington Collection, Private

Illustrated and discussed: Pleasing The Spirits, 1982, p. 352, fig. 433, left.

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Nice balanced form hewn from one piece of ash with the bowl of the burl and the handle into the straight grain. Dark patina exhibiting an extensive use history. RARE.

Like examples pictured in my book, North American Burl Treen, page 181, plate 9/30 a/b. and in Important Americana From The Collection of Mr. & Mrs. James O. Keene, Sotheby's, 1997, lot 7.

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Evan M. Maurer, Director Emeritus, The Minneapolis Institute of Arts writes of this ladle, “With careful renditions of anatomical details like the open mouth, the bright staring eyes, and the ears that stand up at attention, this canine is clearly a portrait of the owner’s favorite companion who participated in the hunt and protected the family.”

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Exceedingly rare wrought iron, diminutive African-American (slave) made andirons in the form of male and female figures. The figures stand in a coded stance communicating power. The female figure is slightly smaller and has a triangular notch clipped between her legs designating her gender.

Provenance: Robert Reeves, Private Southern collection, Peter Brams.

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A fascinating group of seven carved stones, each in the form of a man’s face with a pronounced, well-groomed mustache.

Though the carver’s identity is unknown, three of the stones are dated; 1) July 15, 1899; 2) Oct. 1899; 3) July 15, 1900.

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A most remarkable Folk Art object made more beautiful and complex by Mother Nature herself. A small lead buckshot pellet is embedded on his right side (proper).

Found on a farm between Port Henry and Crown Point, NY.

Provenance: Mr & Mrs Frank Moran Auction, November 15, 1974; Marvill Collection.

Illustrated and discussed: American Primitive, 1986, p. 126, fig. 169.

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A large and unique 25 pound weight in the form of a baby with its head painted in flesh tones and its' eyes a glance.

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This striking object leaves an indelible imprint on your minds’ eye—it is powerful and mysterious.

This small chiseled and forged flat iron figure depicts a silhouetted American Indian with calumet (pipe), hair roach and pony-tail, and wearing a breechcloth with genitals exposed.

Provenance: Marvill Collection of American Folk Art

Illustrated twice and discussed in American Vernacular, 2002, p. 1 (title page) and p. 149.

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A complex folk art tableau of the Sacred Family; Mary, Joseph and the baby Jesus. Made out of crate wood, the carved and painted figures and elobotate platform were carved by an Italian-American in New York.

Provenance: Hill Gallery, David Wheatcroft, Peter Brams

Illustrated: Folk Art Magazine, Winter 2003/2004, p. 15

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Excellent example of the form with strong glazes and great coleslaw fur to the head and tail.

Related example: Winterthur has a very similar with a like glaze combination.

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Masterfully carved and crafted from carved mahogany and nickel plated bronze, this set of five carvings is a bit of a mystery—we don't know who carved them or exactly when, but they are quite provacative and special. The proportions and minute details are the carvings are well studied and finely executed.

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With its dripped manganese glaze, this rare life-sized face jug is quite wild. The rich reddish/purple color and wavy patterning over the hand-built face is striking.

Provenance: Ron Korman, Robert Girourd, Peter Brams

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Literature: for a cane by the same hand see, Carved & Whittled Sculpture: American Folk Art Walking Sticks, Se- lections from the Pamela and Tim Hill Collection, pages 110-111

Provenance: Steve Miller, Peter Brams

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Provenance: Joshua Lowenfels, Peter Brams

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Jacob Semiatin, a Hungarian Jew born in Ireland immigrated to Brooklyn, NY in 1920. Semiatin was a member of the Brooklyn Society of Artists and exhibited at The Brooklyn Museum in the 1940’s. After WWII, he move towards abstraction and developed a friendship with James Johnson Sweeney of the Guggenheim Museum.

Semiatin's first one-man show was at the Contemporary Arts Gallery in New York, (notable as the gallery that introduced Mark Rothko).

Semiatin’s work is in many collections including: The Houston Museum of Modern Art; The Jewish Museum, Dublin, Ireland; Mr. Ted Turner; and the William Clinton Library.

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Only one of these I have seen. In the manner of Civil War carved pipes, this hewn burl cup bears the name of James Hammond of the Ohio Volunteer Infantry, 3rd Division, Company D.

Provenance: Private, Peter Brams, Private

Illustrated and discussed: North American Burl Treen, 2005, p. 91, pl. 5/9.1

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A large and exceptional recumbent lion carved out of the solid of anthracite coal. Such carvings are rare.

Provenance: Peter Brams; Barbara Johnson

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Provenance: Marvill Collection

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African-American bust marked, "WM. M. DEE ESQ. 164 E. Adams St. Chicago, IL." William M. Dee was a manufacturer in sewer pipe and fire brick who’s offices were at the above address from 1885-1890. The whole in a brown glaze with kaolin details and stamped several times on the front and back.

Provenance: Michael and Julie Hall Collection of American Folk and Isolate Art; Peter Brams Collection.

Illustrated and discussed: American Primitive, 1988, p. 85.

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A large an unusual portrait of Abraham Lincoln carved from anthracite coal.

Provenance: Marvill Collection, Peter Brams

Illustrated and discussed: American Primitive, 1988, p. 95, fig. 126.

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I have had several great Civil War / GAR Folk Art carved pipes, but have never seen anything on this scale.

In the form of an hourglass, the entire surface is carved from a 40lb. timber. The lower half in high relief with large stars, crossed rifles, cannons, swords, and the medal of the Grand Army of The Republic including a flag and an eagle. The upper half has a repeating star and sunburst pattern.

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An unusual portrait sculpted out of a large lead water pipe. The whole has a remarkable gun-metal like color and patina. Traces of paint remain on the forehead and hair.

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A rare and early intact Folk Art doll.

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This is one of the finest figures to appear on a folk art walking stick extant. Though the artist is unknown it is initialed “JE” in script below the male figure and marked “NC” [North Carolina] below the rattlesnake.

Provenance: Peter Brams

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With a great original, crazed paint surface.

Provenance: Tim Hill, Peter Brams, Private

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A fascinating and mysterious carving with nine hands around the stick, interspersed with carpentry tools and lizards. The top has a conjoined shorebird feeding its young and a dog’s head.

Though the meaning is not known—the tools and hands make me think of “helping hands.” Or from a different perspective, the religious act of “laying on of hands.”

Provenance: Southern Collection

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A highly unusual and rare “Caucasian” face jug sporting a Van Dyke mustache and beard. The life-sized face is made from a stoneware body and covered with a white bristol glaze and detailed with cobalt.

Provenance: Peter Brams Collection

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A family of eight concrete dolls. Found as a group in Iowa, these “dolls” are unique and mysterious. Sensational surfaces.

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A sensively carved life-sized figure head of a young African American man.

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A remarkably serene and graceful modeled aluminum sculpture. Marked 20 (inches dcircumference) at base.

Provenance: Peter Brams Collection

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The Marshalltown Menagerie is a group of ninety-plus extraordinary carvings created by an individual, unknown carver from Marshalltown, Iowa.

Each animal is thoughtfully executed—with no repeats. Some have numerical tags, which likely, at some time, identified them as part of a key for display.

According to family history, they were acquired directly from the artist by a Mr. Calvin White in lieu of payment. They remained within the White family for at least eighty years and are now just receiving their well deserved exposure.

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Stong, mysterious, minimalistic.

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Large scale folk art carving with an extraordinary paint surface. Created by a shell-shocked WWI veteran, who found therapy in carving.

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Though its origin and maker is unknown, the artistry is first rate. The feathers are glazed in a deep cobalt blue, white and traces of red (reds are difficult to achieve in ceramics). The beak and eyes are more a bluish-green. Possibly a commissioned work as an architectural element

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A miniature wooden awning with colorful stripes of dark green, red and yellow with a nicely scalloped shaped front. Made from a thin early plywood. Wonderful original alligatored surface.

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A rare painted game board with a modernistic Paul Klee-like composition.

George Howard Monks, a surgeon at Harvard Medical School, invented the game Halma in 1883/1884. It is based on the English game Hoppity (1854).

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Carved wood (maple?) ring with a dark color and patina with silver mounts. The front with the initial, "D.P." and dated, "1865." The sides with a hand and a heart (Oddfellows?).

Probably made by a Confederate POW at Johnson's Island, Lake Erie Ohio.

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A remarkable large lever wrought iron with an undulating sleek body, the whole etched with scales and with a large crowned head (symbolizing a divine right) and a leafed apple in its mouth (Garden of Eden).

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A remarkable capture and painting! Looks like William Matthew Prior could have painted this one. Because of the exposure time it was unusual to capture a person in such delight, crisply. Plus the baby is fully naked, save for the cloth diaper.

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Unusual for the amount of people within one tintype and for being outside of the studio. The folk art painting over it, with the symmetrically placed flowers in the foreground is great.

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A striking portrait of an unknown Union soldier.

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An asymmetrical-symmetrical double portrait of two brothers holding books. It's the subtle compositional details that sometimes make all the difference—one holds the book horizontal, one vertical.

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An exceptionally rare find. African American painted portraits are quite rare, a mother and child is especially so. The baby is quite wonderfully painted with big cheeks and small arms. Note that the painter neglected the mother's right hand, opting to paint the full cuff of the sleeve rather than her hand.

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A rare portrait of three siblings, three redheads (less than 2% of the population) on a red velvet sofa. The vibrant green floorcloth remins one of the floors of folk art painter of Joseph H Davis.

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Striking portrait of a young girl on a Windsor Chair. She holds a thoughtful gaze and is adorned with matching gold and ruby earrings and necklace. A multi-colored checkered sash, or blanket rests across her waist and under her hands. A very beautiful image.

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A striking portrait of a nude African American woman sitting contrapposto on a pedestal in front of a green curtain. She wears matching gold-jeweled leg and arms bands as well as a bracelet. A coat hook to the right hangs her skimpy undergarments. Painted in San Francisco, CA March 1, 1957, by Carl Gibbert (presumably a self taught painter).

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This is a neat, small and unusual work. I have not been able to fully identify the mediums, but it is composed of some sort of resin poured in little cloisons, which divide the spaces and creates the perspective of the room. The walls have little swirled resinous abstract paintings framed in thin copper frames. It is signed "AW" in the lower right.

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An assemblage of various tin can lids composed in an overlapping pattern, each meticulously nailed around the perimeter—like numbers on a clock face. Framed and presented as a painting/wall hanging.

The whole is reminiscent of Klimt’s work with silver and gold foils and reads as a macro-detail of some of his paintings.

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A small gem by Morgan exhibiting his map-like surveyance of the Gardiner Railroad Depot as observed from Randolph.

Painted by Morgan aged 91 years, 10 months at the Denico Rest Home, Gardiner Maine.

Signed and dated on verso: George E. Morgan, August 1962.

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Provenance: Hirshhorn Museum, Comara Gallery, Los Angeles, CA

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A lively ship portrait with a wondrful rhythm of color and dashes of white forming the active waves and cloudy sky.

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A very simple but engaging house painting with orange “candlelight...” the fine craquelure looks like a teeming rain.

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The carving is small but powerful. The depiction is quite interesting in that the Christ figure in not nailed to the cross, but rather tied with the arms positioned backwards following the shape of the cross bar—his hands tied behind to the back.

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A recent discovery of an early, undocumented form. An ingenious two-for-one—a tazza for serving cheese or pie on one side and when flipped over a bowl for fruit or nuts.

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Rare large scale turning of exceptional color and character. In relation to treen trenchers, treen chargers are exceptionally scarce. This example is remarkably fine with a complex patination.

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A deep Woodlands ash burl bowl hewn fully round (like a turned bowl) with a graceful body. Made from a particularly choice, well figured specimen of burl.

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Ladle of fine line quality - note the graceful sweep up the animal's body and then down its back. Open carving between arms and head.

Provenance: Andy Warhol Collection, Sotheby's, New York, 1988.

Literature: Pictured in North American Burl Treen, p. 165

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This figure is one of the most indelible images pictured in the folk art tome, American Vernacular. Found in an African American’s garden in Ohio, it is enigmatic and haunting.

The slightly larger than life-sized toddler sits upon a stool—his hands rested on his outstretched legs. The figure, decidedly a baby, however has a full set of teeth and a pronounced Adam’s apple beyond his years. Eyebrows and hair are scratched in.

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A set of three large and expressionistically painted knockdowns—each with a brutal personality. They have the palette and line quality of early Jackson Pollock, à la “The She Wolf.”

Provenance: Ricco/Maresca, Marvill Collection

Pictured and discussed in American Vernacular, page 91.

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A set of four puppet heads made by the same hand—each constructed the same, but with a different look and personality. Three have glass marbles as eyes, except for the skull (makes sense). The clown head is quite awesome with a fantastic paint surface and brilliant blue marble eyes. The skull has a full grin and has painted sutures along the cranial plates. The other two men feature dark hair and thick eyebrows and well carved ears.

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Attributed to Moses Ogden. Carved from the solid, this large folk art carving is well executed with an expressive face and clothing details-the artist captures a slight sense of movement with a bend to the knees and the figure's hands going into his pockets. Remains of polychrome...black to hair, eyebrows, green lapels, red shirt, etc.

Found in Kentucky.

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A striking wall box in the form of a bat house or dovecote. While the lines of the top and bottom resemble the silhouette of a bat, the whole reads as a giant mask or even an owl. Constructed of pine with dovetailed joints.

The box appears unique and therefore its exact purpose is a bit of a mystery. It would not fuction well as a household wall box—it is not typical of a bird house (and there are no perches)—bat boxes are shallow rectilinear boxes similar to the box here, however usually have slats, not holes. Regardless it is a fascinating object with a graphic presence and a first rate surface.

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A strage, somewhat frightening (if you have coulrophobia, a fear of clowns), but powerful carved and painted folk art head.

Provenance: Ricco/Maresca, Marvill Collection

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This large scale limberjack escapes the form and is powerfully rendered more as a fetish figure than an object of entertainment. It was likely created by an African-American street musician made for personal performance, not novelty. Its potent visage and presence can be compared to African nkisi or spirit figures with the arrangement of re-purposed and disparate materials from the applied animal hair, macramé, iron springs, mother-of-pearl eyes and the “offering up” posture.

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Shallow form with a graceful line quality—surface is remarkable and a benchmark for perfection.

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One of the identified by Joseph Roth (range in date from 1905-1921). The earlier ones while he was in Central Islip and then later when he was a patient at the Binghamton State Hospital. Roth and these works are an important addition to the canon and study of American Outsider Art.

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One of the identified by Joseph Roth (range in date from 1905-1921). The earlier ones while he was in Central Islip and then later when he was a patient at the Binghamton State Hospital. Roth and these works are an important addition to the canon and study of American Outsider Art.

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One of the identified by Joseph Roth (range in date from 1905-1921). The earlier ones while he was in Central Islip and then later when he was a patient at the Binghamton State Hospital. Roth and these works are an important addition to the canon and study of American Outsider Art.

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Provenance: Anne K. Wardwell; Mr. & Mrs. Sumner and Helen Johnston; Joe Wetherell; Raymond Saroff and Howard Rose; Peter Brams.
Exhibitions: The Playhouse, Boothbay, ME 1963; Farnsworth Art Museum, Rockland, ME, 1998; The Center for Intuitive and Outsider Art, Chicago, IL, 1999.

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Provenance: Anne K. Wardwell; Mr. & Mrs. Sumner and Helen Johnston; Joe Wetherell; Raymond Saroff and Howard Rose; Peter Brams.
Exhibitions: The Playhouse, Boothbay, ME 1963; Farnsworth Art Museum, Rockland, ME, 1998; The Center for Intuitive and Outsider Art, Chicago, IL, 1999.

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A rare pair of folk art figures representing a man and wife (possibly on their wedding day). Each carved from the solid with unusual (for folk art), but classic marble-esque bases. The Southern gent with a goatee and black suit and his belle in a white dress and carved pearls.

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These rare Woodlands figures were used by the Mide'wiwin or "Grand Medicine Society" of the Ojibwa Indians. As part of a ceremony for attracting a marriage partner, the figures would be tied face to face and mixed with “love powder” in a bag.
Provenance: W. E. Channing; Marvill Collection

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Folk Art Painted Tintype. Identified on back as, “Healey” “Eureka Photo Huntington W. VA”

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Folk Art Painted Tintype. Rare image, beautifully rendered.

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Folk Art Painted Tintype. An unusual, playful tintype.
Provenance: Charles W. Jenks, Providence, RI (19thC collector of photography).

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Large scale reverse painting on glass. Masterpiece of the genre.
Provenance: Phyllis Rosner & Judy Lenett; Marvill Collection

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A beautiful rarity and survivor.

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A large, RARE Inkwell in the form of George Washington's head, which is idealized and is divided with phrenological numbered sections. The blackened cast iron base is sculpted with oak and laurel leaves and ivy—the leaves on the sides act as pen rests. The lid of the pen cup lid has an American eagle within a Federal shield—the underside reads: SEE WASHINGTON MANUAL BY / JOHN HECKER, / N.Y. The front of the glass cup is lettered: WASHINGTON MANUAL. The 1866 manual was a guide to understanding the Washington phrenology bust. The sections that hold the pen cup is marked: PATENTED DEC 11, 1855.

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Strong form with the "+" eyes and little "D - ring" ears.

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An erotic pull toy. First rate example.
Provenance: Marvill Collection

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Unusual, but amazing mahogany carvings of three nude women on their knees. Mounted on chrome discs.

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This figure, as with the previous, represents an aspect of folk art we seldom see, women in the home or at work (in the home). Typically men carved women as muses, nudes, and objects of their affection. These women are shown in a straightforward, not overly sexualized manner. They are portraits of contemporary, employed women of the day.
Provenance: Marvill Collection

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Carved from hardwood, she stands well poised and neatly dressed with a robin’s egg blue dress, foil wrapped buttons and buckle, and smartly weaved bobbed hair.
Provenance: Hammer & Hammer; Marna Anderson; Marvill Collection
Illustrated and discussed in American Primitive, page 67, fig. 85.

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Though presented in the form of a utilitarian match strike, this object is a sophisticated sculpture that asks more questions than it answers. While the narrative of these forest dwelling men is unknown, it appears that some kinky psycho-sexual dream is playing out. A male figure sits on a stump, tongue panting and mouth agape, while another male nude stands astride a phallic tree root and peers around the tree holding a cat o' nine tails whip.
Provenance: Marvill Collection

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Provenance: Marvill Collection
Illustrated and discussed in American Vernacular, page 126.

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Provenance: Marvill Collection

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Provenance: Marvill Collection

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Provenance: Peter Brams

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A vignette comprised of two wood carvings, tattoo flash and a photograph of Charles William “Boots” Eyler (1908-1983) and Evelyn Marstellar (1912-2001) of York, Pennsylvania.

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An unusual and novel folk art carving of a young man dressed in a green uniform and a black leather loincloth around his waist—lift the cloth and surprise! Carved from the solid with polychrome. Provenance: Marvill Collection of American Folk Art.

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A facsinating carved pipe with a full human skeleton and a large owl cradleing the skull. Created during the wave of first discovery of the ancient American-Indian cultures through burial mounds and site excavations—this pipe is a fantasy based on early forms and a romantic interpretation of the mythologies. Provenance: Frank Maresca; Marvill Collection.

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The first aspect one notices about this bowl is the surprising size and volume (as it relates to other known covered bowls). The form and proportions are exceptionally well conceived and executed and the whole has a good lift.

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An unusual realistically rendered woman's profile sculpted from concrete, plaster, newspaper, and paint. Looks great on a wall, the floor or for more fun, the center of a dining room table.

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A sensitively rendered carving of a small girl on a buttoned mattress with draped sheet over her body. Face is very serene. Especially love her left arm that juts out from under her head. Wonderful patinated surface which brings out the details of this special carving.

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Bold form, remarkable color and wear pattern. Unique and inventive constuction.

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Rare small size with thin boards, great color and exacting form.

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The ultimate "OFFICE" sign! Smile-rifically clever. Jig saw cut plywood with the original painted steel support.

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Large one piece carving of remarkable character and surface. The hefty bear is down on all fours with one hind leg coming through to the front.

Surface is untouched, oxidized and maintains a “benchmark” dark, sensual patina—it illustrates why wood lovers love wood!

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Ladle of fine line quality - note the graceful sweep up the animal's body and then down its back. Open carving between arms and head.

Provenance: Andy Warhol Collection, Sotheby's, New York, 1988.

Literature: Pictured in North American Burl Treen, p. 165

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Edward and Thomas Moran were both highly regarded Philadelphia artists—each in their own right. Edward for his seascapes and Thomas for his exploratory works out West. This appears one of the only known works that they did in collaboration.

This painting has descended within the same family of the original purchasers. According to family tradition the painting may have been purchased or received in part from a donation that the family made to a fund raiser for the Union Army in 1864.

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A small octagonal snuffbox, the top and bottom set with a smoky quartz agate. The sides etched, "JOSEPH MALLARD WILLIAM TURNER / 1785."

J.M.W. Turner, RA (1775-1851), an inveterate snuffer (he was even known to mix it in his paint), is arguably England's most esteemed (and controversial) landscape painter. Turner's talent developed early and in his early teens was selling works in his father's barber shop. As acclaim for his talent met with financial reward, Turner took to experimentation and challanged traditional conventions - his landscapes became moody, romanic, impressionistic and often resembled colorfield abstractions (much like this smoky agate).

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Wrought by Edith Owen-Bruyere (1878-1958) of Glen Ridge NJ. The center with vines, each leaf with initials of a sibling, then scattered autographs and illustrations of a devil, skull, playing cards, a neat illustration of a woman at an easel with an ink pot (possibly Violet Oakley), a trumpet, snail, boat, golf clubs a Bissell carpet sweeper(!) and many more. Much more research is needed.

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Wonderful landscape with a large signature Shaw tree occupying the left margin and extending into the bottom center—full of active and animated branches and roots. Large waterfall in the middleground and an overcast sky and low mountains in the back.

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Rare large scale turning of exceptional color and character. In relation to treen trenchers, treen chargers are exceptionally scarce. This example is remarkably fine with a complex patination.

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