SMALL FACES UNBOUND

OUTSIDER
ART FAIR
N E W
Y O R K
J A N U A R Y
19-22, 2017

S T E V E N S . P O W E R S
S M A L L FA C E S U N B O U N D
The title of this collection comes from the lyric in
The Byrds’ song, “Eight Miles High.” This ripe
phrase evokes a range of fantastic imagery;
uninhibited children, tiny heads, unencumbered
puppets and marvelous dismemberment, to name
a few things that popped into my head.
Rather than discovering hidden faces or seeing
them in inanimate objects (pareidolia), we focused
on indelible visages—stark, psychological and
philosophical—existential and mythological, some
animal, some mysterious and some absurd.
January 19-22, 2017.
Metropolitan Pavilion, 125 W 18th St, New York, NY 10011
additional show information: outsiderartfair.com
W O R K S O F
A R T
& a m e r i c a n a
360 Court Street #28, Brooklyn, NY 11231 | 718.625.1715 or 917.518.0809 | stevenspowers.com | member: ADA

Important Mesquakie Dog Effigy Ladle (detail)
Tama, Iowa
Carved wood, trade glass bead eyes, brass tacks
Circa: 1840
Size: 9 1/2" (oal) x 5 7/8" (w)
full details on pages 34-35

Terracotta Toddler
Architectural earthenware
Circa: 1920
Size: 12" (w) x 15" (d) x 24" (h)
Provenance: Robert Reeves, Ricco/Maresca,
Marvill Collection
Pictured: The Clarion, Spring 1990
Pictured and discussed: American Vernacular, page 165
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.
The firing of the clay body has given the figure a burnt
reddish-orange color—like a loaf of braided bread in a
wood fired oven—or skin in the flickering light of a
campfire.

This figure feels alive. His uncoordinated muscles are
well rendered in the slightly off-balanced posture as is
his minute head roll. The doughy build of his body and
love-handles at his hips and buttocks gives us a sense of
his weight.
The scale of the figure is surprising and not often seen
in folk art ceramics. The terracotta medium and the
stock paver form upon which the baby sits suggests that
the builder worked at a commercial ceramic factory. The
insight of building technique, proper drying time before
firing and access to a sizable kiln would also support
this theory.
Terracotta Toddler (back)
Architectural earthenware
Circa: 1920
Size: 12” (w) x 15” (d) x 24” (h)

The Painted Tintype
A tintype or ferrotype is a photograph made by creating a direct image
onto a thin sheet of metal (there is no negative). From roughly 1860
onwards tintypes saw a popularity through all social classes, as they were
inexpensive, and quick and easy to make.
The images were black and white, giving the now largely out of work
itinerant portrait painters a new found opportunity to flesh out the sitters
and bring them to life—and a new genre of American folk art painting
was born.
As with other folk art painting, we look for a certain sprezzatura or casual
seriousness and a slight misalignment of earnest intent and artistic
ability—something slightly off in craft, but otherwise on.
*A note on condition: learn to accept peripheral scuffs, scratches and
tonal shifts (ghosting from the original mat). The corners, which would
have been hidden under the mats are often bent and/or have glue marks. I
have chosen to embrace these marks of time and not over mat the images
and present them edge to edge.
Happy Baby
Folk Art Painted Tintype
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (full plate)

Books Brothers
Folk Art Painted Tintype
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (full plate)

Young Girl in Windsor Chair
Folk Art Painted Tintype
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (full plate)

Serenity’s Child
Aluminum Hat Form
Circa: 1920
Size: 11" (h) x 7 3/4" (d)

Carnival Knockdowns
New England
Carved wood, polychrome, animal hair, movable eyes
Circa: 1900-1920
Size: 19" (h) x 7 1/2" (w) each
Provenance: Ricco/Maresca, Marvill Collection
Pictured and discussed in American Vernacular, page 91.
Two sets 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.”
The She Wolf / Jackson Pollock
Oil on canvas / 1943
Museum of Modern Art

“Spiritualist Criterium”
Robert M. Clark, Formerly Sherif [sic], Ventura County, Califonia [sic]
DeWitt State Hospital, Placer County, California
Date: March 16 th 1954
Size: 9" (w) x 12" (h)
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 writing reminds one of William S. Burroughs’ morphine driven Dadaists vignettes of the
1950’s. It’s vivid and at times quite engaging with some well structured thoughts and colorful
phrases, however the whole is somewhat incohesive and difficult to follow—yet spellbinding!

Letters from (a State) Home
Wrought by Verba Frazier (1900-1951)
Mexia State Home, Mexia, Texas
Circa: 1940’s
Size of largest: 9" (h) x 6 1/4" (w)
These poignant embroidered letters were wrought by Verba Frazier, a diagnosed
schizophrenic (dementia praecox), from a state institution in Texas to her son,
Hudson. These simple sentiments are rich with emotion and heartache.
Verba Frazier was born in Pliny, West Virginia in 1900. She married John
Hudson Pritchard and they had a son, Hudson in 1921. 1930 census records
show the Pritchard family living together in Texas, however by 1940 Verba was
divorced and living as an inmate at the Terrell State Hospital in Kaufman
County, Texas. At some point she transferred to the Mexia State Home and
lived there until her death in 1951.
One of the letters is addressed to Hudson while he was living on West 77th
Street in New York City. However, court records from the same period show
Hudson in Los Angeles and getting into a bit of trouble with some minor burglaries—in
one instance he was found wearing the clothes of the victim.

Iron Workers Mask
Sheet metal
Circa: 1900
Size: 7 7/8" (h) x 7" (w)

(l) Rare Set of Four Puppet Heads
Dayton, OH
Carved wood, paint, glass marbles
Circa: 1900
Size: +/- 6" (h) x 4 1/2" (w) (each)
(r) Clown Puppet Head
Carved wood, paint, varnish
Circa: 1900
Size: 7 5/8" (h) x 3 1/2" (w)
Provenance: Ricco/Maresca, Marvill Collection

African American Woman in Mourning
Folk Art Painted Tintype
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (full plate)

African American Mother & Daughter
Folk Art Painted Tintype
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (full plate)
*notice the mother’s right hand, or lack thereof.

Mississippi Matrimony
Wood and polychrome
Circa: 1910
Size of largest: 11" (h) x 5 1/4" (w) x 4" (d)
Provenance: Natchez, Mississippi Estate
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. The intricate detail to
the hair is especially great.

African American Young Woman
Folk Art Painted Tintype
Identified on back as, “Healey”
“Eureka Photo Huntington W. VA”
Circa: 1860
Size: 5" x 7" (custom size)

African American Boy in Dapper Suit
Folk Art Painted Tintype
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (full plate)

Hawaiian Ai-Laiki = Ricebird
James W. Washington, Jr. (American 1909-2000)
Dated: 1974
Size: 7 1/2" (l) x 4 1/2" (d) x 7" (h)
Provenance: Private Northwest Coast collection
A striking, signature work carved from black granite—the
bird is powerfully rendered with a commanding posture.
James W. Washington, Jr. was a self-taught African-American
artist known for his engaging works in stone. Born in Gloster,
Mississippi, Washington settled in Seattle working as a
government electrician.
Washington’s spirited, but quiet carvings are often seen as a
cross between two other direct carvers; the African American
Folk Artist, William Edmondson (1874-1951) and American
sculptor, John Flannagan (1895-1942).
Washington's work is represented in numerous private and
public collections, including The Smithsonian, the Whitney,
SFMOMA and the Seattle Art Museum.
Literature: Karlstrom, Paul J., THE SPIRIT IN STONE: THE
VISIONARY ART OF JAMES W. WASHINGTON, JR., Bellevue
Art Museum, 1989.; Ament, Deloris Tarzan, IRIDESCENT
LIGHT, University of Washington Press, 2002.

Woodchuck Hatching
James W. Washington, Jr. (American 1909-2000)
Dated: 1977
Size: 12" (l) x 7" (d) x 6 1/2" (h)
Provenance: Private Northwest Coast collection
Though Woodchucks do not hatch from eggs,
Washington successfully reminds us that all animal
life begins with an egg. Regarding a similar work, a
patron who upon seeing a recent work of
Washington’s in which a rabbit was hatching from
an egg, exclaimed, “A rabbit does not come from an
egg!” Washington replied, “Doctor, all life comes
from an egg.”
Washington's work is represented in numerous private and
public collections, including The Smithsonian, the Whitney,
SFMOMA and the Seattle Art Museum.
Literature: Karlstrom, Paul J., THE SPIRIT IN STONE: THE
VISIONARY ART OF JAMES W. WASHINGTON, JR., Bellevue
Art Museum, 1989.; Ament, Deloris Tarzan, IRIDESCENT
LIGHT, University of Washington Press, 2002.

Important Mesquakie Dog Effigy Ladle
Tama, Iowa
carved wood, trade glass bead eyes, brass tacks
Circa: 1840
Size: 9 1/2" (oal) x 5 7/8" (w)
Provenance: by descent through the family of John Young Bear,
Gaylord Torrence, Ned Jalbert, Steve Powers, Peter Brams,
Private collection.
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.”
This powerful ladle descended within the carving family of
John Young Bear and was likely made by his father or
grandfather. It is quite large with a wide and thinly hewn bowl.
The dog’s head maintains a darkened and complex surface from
generations of use.

In 1962, George E. Morgan was 91 years old and living in a rest home in Gardiner,
Maine. Wanting to do more than paint-by-numbers, Morgan started painting
“memory paintings” of his earlier life along the Kennebec River.
Most of Morgan’s works are map-like landscapes, however these two figurative
works display Morgan’s attention to detail and strong compositional skills. The
painting to the right, “Hazzard Band,” illustrates the factory where he worked.
Church Quire [sic]
George E. Morgan (1870-1969)
Oil on canvas board
Dated: January 1964
Size: 9" x 12"
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, July 16 - October 11, 1998; The Center for Intuitive and Outsider
Art, Chicago, IL, February 5 - April 10,1999

Hazzard Band, Gardiner
George E. Morgan (1870-1969)
Oil on canvas board
Circa: 1963
Size: 12" x 16"
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, July 16 - October 11, 1998; The Center for Intuitive and
Outsider Art, Chicago, IL, February 5 - April 10,1999
Literature: “George E. Morgan; Self Taught Maine Artist,” FOLK ART
MAGAZINE, Summer 1998, p. 32, Chippy Irvine

Two babies in Christening Dresses
Folk Art Painted Tintypes
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (each full plate)
Provenance: Dr. Stanley Burns
The one of the left, identified on back as “Shaw.”
Young Girl
Folk Art Painted Tintypes
Circa: 1860
Size: 8" x 10" (large plate)
Provenance: Dr. Stanley Burns

Large Folk Art Poppet of Young Man
Circa: 1870-1890
Size: 24 1/2" (oah)
Provenance: Private Midwestern Collection
Found a number of years ago in Kentucky, this
large folk art carving is well executed with an
expressive face and clothing details. The artist
captured 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
and eyebrows, green lapels and a red shirt.

Young Siblings (Redheads)
Folk Art Painted Tintype
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (full plate)

Man in Top Hat on a Cartoon Horse with Sun-Face Sky
Folk Art Painted Tintype
Circa: 1860
Size: 2 11/16" x 3 7/8" (custom size)
Provenance: Charles W. Jenks, Providence, RI (19thC
collector of photography).

Important African American
Folk Art Carved Cane
Circa: 1881
Size: 36" (oah)
This spirited carving is not
only remarkable for its’
prodigious carvings, it is
the inspired, non-formulaic
execution that makes
it exceptional.
The forty or so carvings
feature; a large capuchin
monkey at the top with a
turtle fetish set into it
(under glass). What follows
is a whole lot of carving;
clusters of shore
birds, 16 or so African
American male heads, a
few snakes, an elephant, a
few dogs, etc.
The male heads all appear
to be African American
which would point to the
race of its carver. The cane
is signed and dated, “BY
TG 1881.”

African American Face Mask
Glazed stoneware
Circa: 1920
Size: 7" (h) x 5" (w)

Folk Art Erotic Pull Toy
Wood, polychrome, textile
Circa: 1900
Size: 14 1/4" (h)

The Toreador
Edward Byrne (1877 - 1974)
Missouri
oil and pen on board
Circa: 1970
Size: 11" (w) x 6 3/4" (h)
Provenance: Kronen Gallery, New York, NY
Byrne came into painting at 87 years of age and while
living at a rest home like George E. Morgan. He got his
inspiration from newspaper clippings and local real
estate advertisements. Although known for his
semi-abstract architectural works, Byrne loved to paint
animals as well.
This work with its stark composition reminds one of
Bill Traylor’s animal paintings.
Byrne’s work was included in the show, “A Place for Us”
at the American Folk Art Museum, 1996.

Reductive Milliner’s Head
Wood, paint, paper
Circa: 1900
Size: 10" (h)

Study for Monument For Gold Star Mothers
Clyde Angel (1920-2006)
Camanche, Iowa
White paper bag, black and red ink, gold foil
Circa: 1991
Size: 15" (l) x 9" (w)
Born Vernon Clyde Willits, “Angel” was a career welder
in Camanche, Iowa. A World War II veteran, he was
self-taught as an artist and applied his professional
vocation to construct his found object sculpture.
His son Skip Willits, wanting to promote his father’s
work concocted a convoluted and unnecessary “crazy,
homeless, struggling artist” story to make the work
more “meaningful”—it was baloney and tainted on his
father’s credible work.
For more read: “The Made-Up Life and Real Death of
Clyde Angel: The identity of a popular but mysterious outsider
artist is revealed. Or so it seems.”
http://www.chicagoreader.com/chicago/the-made-up-lifeand-real-death-of-clyde-angel/Content?oid=1205382

Folk Art Make-Do Doll / Circa: 1950 / Size: 9" (h) / Provenance: Marvill Collection

Folk Art Preacher / Circa: 1880 / Size: 5 1/2" (h) / Provenance: Peter Brams Collection

New England Bat House / Carved pine, paint / Circa: 1880 / 16 5/8" (h)

Folk Art Head of a Surprised Man / Carved wood, paint, wool / Circa: 1910 / 7 1/2" (h)

Intense Baby in a Christening Dress
Folk Art Painted Tintype
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (full plate)

Three Babies
Folk Art Painted Tintypes
Circa: 1860
Size: +/- 6 1/2" x 8 1/2" (two full plate
and one larger)

S T E V E N S . P O W E R S
OUTSIDER
ART FAIR
N E W
Y O R K
J A N U A R Y
19-22, 2017
W O R K S O F
A R T
& a m e r i c a n a
360 Court Street #28, Brooklyn, NY 11231 | 718.625.1715 or 917.518.0809 | stevenspowers.com | member: ADA