Some define "hodgepodge" as a confused mixture. Ignore that and go with the "a heterogeneous (or diverse) mixture." As one is exposed to more art and is receptive to expanding beyond one's preconceived notions or a tight focus, ones aesthetic evolves and lets art from one period or genre overlap with another—either in complement or contrast. Over the last twenty-plus years, my primary focus on early treen has expanded to where it is hard to see the connections between a-to-z. However, if one looks at a-to-b, b-to-c, c-to-d etcetera the connections and overlaps make sense—like an evolving an expanding Venn diagram. This is not to say there is not a focus or discipline—there very much is! The catalog herein has a diverse mix for sure—but everything was deliberately chosen and vetted for the integrity of vision, craftsmanship, surface, and condition. Enjoy!

Some define "hodgepodge" as a confused mixture. Ignore that and go with the "a heterogeneous (or diverse) mixture." As one is exposed to more art and is receptive to expanding beyond one's preconceived notions or a tight focus, ones aesthetic evolves and lets art from one period or genre overlap with another—either in complement or contrast.
Over the last twenty-plus years, my primary focus on early treen has expanded to where it is hard to see the connections between a-to-z. However, if one looks at a-to-b, b-to-c, c-to-d etcetera the connections and overlaps make sense—like an evolving an expanding Venn diagram.
This is not to say there is not a focus or discipline—there very much is! The catalog herein has a diverse mix for sure—but everything was deliberately chosen and vetted for the integrity of vision, craftsmanship, surface, and condition. Enjoy!

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<strong>HODGEPODGE</strong><br />

hodgepodge noun<br />

hodge· podge | \ ˈhäj-ˌpäj \<br />

: a heterogeneous mixture : JUMBLE<br />

Some define "hodgepodge" as a confused mixture. Ignore that and<br />

go with the definition above "a heterogeneous (or diverse) mixture."<br />

As one is exposed to more art and is receptive to expanding<br />

beyond one's preconceived notions or a tight focus, ones aesthetic<br />

evolves and lets art from one period or genre overlap with<br />

another—either in complement or contrast.<br />

Over the last twenty-plus years, my primary focus on early treen<br />

has expanded to where it is hard to see the connections between<br />

a-to-z. However, if one looks at a-to-b, b-to-c, c-to-d etcetera the<br />

connections and overlaps make sense—like an evolving an<br />

expanding Venn diagram.<br />

This is not to say there is not a focus or discipline—there very<br />

much is! The catalog herein has a diverse mix for sure—but<br />

everything was deliberately chosen and vetted for the integrity of<br />

vision, craftsmanship, surface, and condition. Enjoy!<br />

Our next fair is:<br />

Antiques In Manchester | August 7-8, 2019<br />

Saint Anselm College, 100 St Anselm Dr., Manchester, NH 03102<br />

Show information: antiquesinmanchester.com<br />

W O R K S O F<br />

A R T<br />

& americana<br />

109 3rd Place #2, Brooklyn, NY 11231 | 718.625.1715 or 917.518.0809 | stevenspowers.com | member: ADA

Mischief Cats (detail)<br />

William Fellini ( -1965)<br />

Oil on canvas<br />

Circa: 1957<br />

Size: 27" (h) x 33" (w)

Southern Folk Art Limestone Carving of a Kissing Couple<br />

Kentucky (found)<br />

Circa: 1930-40<br />

Size: 8” x 8” x 9” (h)<br />

A dynamic carving of a nude male and female embraced in a<br />

kiss with the man’s hand on her upper thigh. She is not<br />

resisting, but her slight push may be a signal to slow it down<br />

a bit.<br />

Carvings as such in limestone are quite rare in that this small<br />

sculpture packs a lot of life into the stone. The work is carved<br />

in-the-round, and the figures have remarkable tension<br />

between them.<br />

It was found in a river 65 years plus ago in Prestonsburg,<br />

Floyd County, Kentucky.

The Snake Handler<br />

Oil on canvas<br />

Circa: 1930<br />

Size: 39”(w) x 69” (h)<br />

Provenance: Larry Dumont Collection; Marna Anderson,<br />

Frederick Hughes.<br />

Large and engaging painting of an African-American<br />

woman wearing a grass skirt handling three snakes in tall<br />

grass.<br />

A related painting of a “Fat Woman,” by the same hand is<br />

in a private collection. Though they are on stretched canvas<br />

and not painted like other carnival banners, they were<br />

likely part of a sideshow.

The Key To My Fantasy<br />

Pen & Ink on canvas board<br />

Circa: 1960-70<br />

Size: 16”(w) x 20” (h)<br />

This is a remarkable<br />

illustration by an as of yet<br />

unknown artist. The<br />

adeptly rendered nude<br />

figure and intricate design<br />

are masterfully worked and<br />

executed.<br />

Atypically, the substrate is<br />

canvas board (not paper or<br />

bristol board). The artist<br />

must have used a steel pen<br />

versus a mechanical<br />

rapidograph-type pen as<br />

the tips would have broken<br />

over and over.

This small masterwork by Materson recalls a day when Materson as a young<br />

teenager skipped school and played strip poker with a couple of older girls. The<br />

event was exciting, but not in the way that he had imagined. His figure lay in the<br />

scene like Christ with outstretched arms and a loincloth (tighty-whities).<br />

From The American Visionary Art Museum, "Born March 15, 1954 in Milford,<br />

Connecticut, Raymond Materson grew up in the Midwest. He earned a G.E.D. and<br />

attended Thomas Jefferson College as a drama and philosophy major, but was<br />

plagued by a serious drug problem. To support his habit, he committed a string of<br />

robberies with a shoplifted toy gun, was eventually arrested and sentenced to 15<br />

years in a state penitentiary in Connecticut. To keep himself sane Ray taught himself<br />

to embroider, using unraveled socks for thread and a sewing needle secured<br />

from a prison guard. He stitched miniature tapestries depicting life outside prison<br />

walls and sold his works to other inmates for cigarettes. Most of Materson's miniature<br />

embroideries include approximately 1,200 stitches per square inch and<br />

measure less than 2.5 x 3 inches.<br />

Since his release from prison in 1995, Ray has worked as a teacher, counselor,<br />

caseworker, program director, design consultant and speaker. With the help of his<br />

former wife Melanie, he published his autobiography, "Sins and Needles: A Story<br />

of Spiritual Mending." In 2003, he became the first artist to ever receive the Robert<br />

Wood Johnson Foundation's Innovators Combating Substance Abuse Award.<br />

Materson's work has been featured in numerous exhibitions at The American<br />

Museum of Folk Art in New York City, The American Visionary Art Museum in<br />

Baltimore, MD, The Center for Contemporary Art in Seattle, WA, The Boston<br />

Metropolitan Museum of Art, and The New Museum of Contemporary Art in New<br />

York City to name just a few."<br />

Provenance: Peter Brams Collection<br />

Illustrated & Discussed in: Sins & Needles, p.27

Public School Girls<br />

Ray Materson (1954 –)<br />

Unraveled socks<br />

Circa: 1994<br />

Size: 2 1/4" (h) x 2 3/4" (w) (sight)<br />

12" (h) x 14" (w) (framed)

Induction Center<br />

Thomas King Baker (1911 - 1972)<br />

Watercolor, charcoal, and calendar scrap on craft paper<br />

Size: 13 1/4"(h) x 9" (w)<br />

Exhibited: Albrecht-Kemper Museum of Art, MO, 1997<br />

Illustrated and discussed in: Oh For Pity’s Sake, We’ve Already Seen<br />

This Opera: The Art of Thomas King Baker; p. 37<br />

Thomas King Baker was an insurance underwriter by day, self-taught,<br />

basement artist by night. He and his wife, Mila Hoover, were<br />

middle-class socialites and enjoyed the opera, galleries, museums and<br />

a vibrant nightlife. King was friendly with local artists and was a<br />

collector. Among friends and family, his art-making was a poorly kept<br />

secret—they knew of his passion but were unaware of the extent of<br />

King’s breadth and body of work. King never exhibited while he was<br />

alive.<br />

King died from the effects of alcoholism in 1972.<br />

In 1991, Thomas McCormick, an art dealer, stumbled upon a few<br />

interesting paintings that he could not immediately identify. After<br />

some detective work, McCormick figured out that the works were by<br />

Baker. McCormick contacted Baker’s wife Mila, who was still alive and<br />

cataloged a large cache of works that Mila had kept together.<br />

King’s paintings, illustrations, and sketchbooks were exhibited at the<br />

Albrecht-Kemper Museum in 1997.

In 2007, the bulk of King’s estate was donated to Intuit: The Center<br />

for Intuitive and Outsider Art in Chicago.<br />

The two works herein illustrate King’s use of scrap materials and his<br />

gifted use of line and color. Like one of the works herein, King<br />

produced several works with calendar fragments. King was not<br />

ignorant of art history and contemporary art and the use of block<br />

numbers on, “Induction Center,” is likely a nod to Jasper Johns.<br />

Edward, Edward<br />

Thomas King Baker (1911 - 1972)<br />

Oil on shirt cardboard on craft paper<br />

Size: 12" (h) x 9" (w)<br />

Exhibited: Albrecht-Kemper Museum of Art, MO, 1997<br />

Illustrated and discussed in: Oh For Pity’s Sake, We’ve Already Seen<br />

This Opera: The Art of Thomas King Baker; p. 58

Study of a Male Nude &<br />

Young Highlander with<br />

Raised Arm<br />

John Kane (1860–1934)<br />

Circa: 1930<br />

Pencil on note paper<br />

Size: 8 1/2" x 5 1/2"<br />

Provenance: Galerie St.<br />

Etienne<br />

A rare John Kane double-sided pencil sketch. Kane is regarded as one of the masters of s<br />

artists.<br />

On the above or recto, note how Kane makes room for the hands to complete the sketch—<br />

room while drawing the figure's arms, so he placed them to the lower left. Above the han<br />

19thC English painters that he must have been studying.<br />

The verso illustrates a young boy in a Highlander outfit (Kane would use this figure in a<br />

paintings). The writing on this side lists the colors of the rainbow (Roy G. Biv).<br />

References: The Highland boy relates to figures in the following; Highland Hollow, Scotc<br />

Kennywood and Scotch Day, Kennywood (Arkus 68, 71 and 73).

lf-taught American<br />

he ran out of<br />

ds, Kane lists 18thfew<br />

finished<br />

h Day at<br />


Nine Hands Cane with Shorebird and Dog<br />

Georgia (attributed)<br />

Circa: 1880<br />

Size: 35" (h)<br />

Provenance: Southern collection<br />

Literature: for a cane by the same hand<br />

see, Carved & Whittled Sculpture:<br />

American Folk Art Walking Sticks,<br />

Selections from the Pamela and Tim Hill<br />

Collection, page 98.<br />

A fascinating and mysterious carving with<br />

nine hands around the stick interspersed<br />

with carpentry tools and lizards. The top<br />

has a conjoined shorebird feeding its<br />

young and a dog’s head.<br />

Though the meaning is not known—the<br />

tools and hands make me think of<br />

“helping hands.” Or from a different<br />

perspective, the religious act of “laying<br />

on of hands.”

[from Wikipedia] "Miroslav Tichý was a photographer who from the 1960s until<br />

1985 took thousands of surreptitious pictures of women in his hometown of Kyjov<br />

in the Czech Republic using homemade cameras constructed of cardboard tubes,<br />

tin cans and other at-hand materials. Most of his subjects were unaware that they<br />

were being photographed. A few struck beauty-pageant poses when they sighted<br />

Tichý, perhaps not realizing that the parody of a camera he carried was real."<br />

In the 2000s a friend convinced Tichý that his work should be shown and<br />

organized an exhibit of his photography for the 2004 Biennial of Contemporary<br />

Art in Seville, Spain. Since then Tichý’s work has been recognized worldwide and<br />

has had major retrospectives at the Kunsthaus in Zurich in 2005, the Pompidou<br />

Centre in 2008, and the International Center of Photography, New York in 2010.<br />

His work is now part of most major institutional and private collections.

Untitled [Woman in a White Tank-Top]<br />

Miroslav Tichý (1926-2011)<br />

Unique gelatin silver print on Tichý mat<br />

Circa: 1960-1980 (n.d.)<br />

Size: 5" (w) x 6 3/4" (h) (sight)

Untitled [Woman Turned Right]<br />

Miroslav Tichý (1926-2011)<br />

Monotype etching<br />

Circa: 1970s (n.d.)<br />

Size: 6 1/2" (w) x 10" (h) (sight)<br />

Untitled [Woman with Apple]<br />

Miroslav Tichý (1926-2011)<br />

Monotype etching<br />

Circa: 1970s (n.d.)<br />

Size: 11 3/4" (w) x 16 1/2" (h) (sight)

Ange Boaretto (1920-??)<br />

France<br />

Circa: 1950s-60s<br />

Size: 43" x 8" (sight) / 48" x 12" (framed)<br />

Three large one piece, six paneled erotic<br />

paintings by self-taught artist Boaretto. Ange<br />

Boaretto was a master shoemaker in Southern<br />

France and self-taught painter.<br />

Although he had some recognition during his<br />

lifetime and a small exhibit at the Centre<br />

Georges Pompidou in 1979, entitled ‘Le Bible<br />

du Bottier’ (The Boot-makers Bible), he has<br />

mostly been forgotten.

Wall Street<br />

Vestie Davis<br />

Oil on Canvas<br />

Dated: 1959<br />

Size: 16” (w) x 20” (h)<br />

An early Davis—unusual for its placid depiction of a<br />

bustling area. Though you wouldn’t think it, the Wall<br />

Street area can be this quiet and deserted on an early<br />

Saturday or Sunday morning.

Second Avenue Barbershop<br />

Professor Arthur Cucino<br />

Oil on wood panel<br />

Circa: 1920s<br />

Size: 10 5/8" x 10 5/8"<br />

Provenance: The Meryl & Jay Weiss Collection, 2007; Don &<br />

Faye Walters Collection, 1986<br />

One cannot help but think of Edward Hopper’s, Early Sunday<br />

Morning, from a similar time. Though signed and stamped on<br />

the back, no records of Professor Arthur Cucino (or Cugino)<br />

have been found.<br />

From the May 31, 1896 edition of the New York Times, “Little<br />

Italy in New-York:”<br />

They are laborers; toilers in all grades of manual work; they are<br />

artisans, they are junkman, and here, too, dwell the rag pickers. ...<br />

There is a monster colony of Italians who might be termed the commercial<br />

or shop keeping community of the Latins. Here are all sorts<br />

of stores, pensions, groceries, fruit emporiums, tailors, shoemakers,<br />

wine merchants, importers, musical instrument makers.

Oblivious To Danger<br />

Oil on canvas<br />

Circa: 1930<br />

Size: 31 1/2" (w) x 29 1/2" (h)<br />

Provenance: Patty Gagarin, Private New York<br />

Collection; Private California Collection.<br />

Amusing allegorical folk art painting of a man fishing<br />

on a river or lake with a bear coming up behind him, a<br />

thunderstorm with sharp lightning, a fish out of the<br />

creel, a 'No Trespassing / Private Property' sign, a spilt<br />

bottle, and a sinking boat...but there is a rainbow on<br />

the horizon! I am not a fisherman, but I guess the<br />

message here is, "I'd Rather Be Fishing."

Folk Art Fetish Figure<br />

Wood, wheat paste/sawdust glue<br />

composite, paint, pitch<br />

Circa: 1900<br />

Size: 5 5/8" (h) x 1 1/2" (w)<br />

I regard this small figure as one of the<br />

most mysterious and striking figural<br />

carvings that I have ever seen.<br />

The body is carved from hardwood,<br />

and the rest of the female figure has<br />

applied composite features, including<br />

her face, breasts, belly button, and<br />

pubic area. The composite material<br />

appears to be made from a wheat<br />

paste mixed with glue and sawdust.<br />

The result of the applied facial<br />

“mask” looks like transplanted skin.<br />

The lips of her face and vagina have<br />

traces of applied dark red paint.<br />

The whole is finished with a natural<br />

tree pitch varnish.<br />

One can only speculate why this doll<br />

was carved. I have never seen a<br />

similar, but believe it to be more<br />

fetish in nature versus a simple play<br />


A Sailor’s Love Token<br />

New York State<br />

Ash Burl<br />

Circa: 1840-1860<br />

Size: 9 1/2" (w) x 5 3/4 (d) x 4 1/2" (h)<br />

A masterpiece of design and craftsmanship. Large lift top box<br />

with a deep relief-carved heart and (anthropomorphic) anchor<br />

composition.<br />

Carved from one block of ash burl. A tour-de-force of carving<br />

and execution.

Folk Art Hand Pipe<br />

New York State<br />

Ash Burl<br />

Circa: 1840-1860<br />

Size: 4 3/4" (l) x 3 1/2 (h)<br />

I’ve seen a few hand pipes<br />

over the years—and this is<br />

hands down (pun<br />

intended) the very best!<br />

Not only for the choice<br />

burl specimen or the rich<br />

patina, but also for the<br />

first-rate modeling and<br />

carving of the hand.<br />

Measuring a little less than<br />

life-size (so you can cup it<br />

in your hand), the fingers<br />

are well defined, and the<br />

thumb lifts to reveal a tin<br />

lined bowl a tin heart.<br />

Best of kind!


Dr. Samuel Johnson (1709-1784) is "arguably the most distinguished man of letters in English history." His,<br />

Dictionary of the English Language, of 1755 is considered one of the great triumphs of lexicography. In 1764,<br />

Johnson and Sir Joshua Reynolds (painter) founded, The Club, which met every week at Turk's Head Inn,<br />

London to eat, drink, snuff, and smoke while discussing literature, politics and intellectual themes of the day.<br />

Other noted friends of Johnson's were, Oliver Goldsmith, (writer), David Garrick (actor), Giuseppe Baretti<br />

(lexicographer), Edmund Burke (statesman), and James Boswell (biographer, writer).<br />

The silver mounted box is carved in the form of a leather-gloved hand issuing a "fare la fica" gesture. La fica<br />

(Italian meaning "the fig"), is an ancient phallic hand gesture whereas the thumb is placed between the fore<br />

and middle fingers and shown to ward off the evil eye. It later became a more course gesture offered as<br />

contempt of another. Relating to tobacco culture of the 18thC, John Knox wrote, "any stranger who cannot<br />

take a pinch [of snuff], or give one, is looked upon with an evil eye."<br />

The carving and overall sculpture of the hand has a remarkable sensitivity—as we do not see a lifeless<br />

pillowed glove; we see a gloved hand! We hear the squeaky crunch of the leather as the fist clenches, and the<br />

fingers gain position!<br />

The etched inscription, "Dr. Samuel Johnson, The Lexicographer, 1770, From a Friend" begs the question,<br />

"who is the friend?" From the 17th to late 19th centuries snuffboxes were routinely given as gifts for<br />

friendship, respect or service. Though research did not a definitive answer, one name kept rising to the top—<br />

Giuseppe Baretti!<br />

Giuseppe Baretti (1719-1789) was an Italian writer, literary critic, and lexicographer who came to London in<br />

1751 and befriended Dr. Johnson. In the fall of 1769, Baretti was assaulted and accosted by a woman in the<br />

streets of Haymarket. Instinctively he pushed back at her. She screamed, and three-man attacked Baretti. In<br />

self-defense, he lashed out at them with a pocket knife and stabbed one man in the chest. Baretti was arrested<br />

and tried for murder. Johnson came<br />

to his defense as a character witness,<br />

and Baretti was acquitted.<br />

Arguably the "friend" is Giuseppe<br />

Baretti. He was a friend of Johnson's<br />

and a fellow lexicographer. He was<br />

an Italian living in London and<br />

culturally familiar with the "fare la<br />

fica" gesture. And the date is<br />

consistent with his legal troubles and<br />

someone who would want to thank<br />

and gift something special to<br />

Johnson for his friendship and legal<br />


Dr. Samuel Johnson’s Snuffbox in the form of a Gloved Hand<br />

Dated: 1770 / Size: 4"(h)

Mischief Cats<br />

William Fellini ( -1965)<br />

Oil on canvas<br />

Circa: 1957<br />

Size: 27" (h) x 33" (w)<br />

William Fellini was a self-taught painter<br />

who worked as a house painter and day<br />

laborer in New York City. In his spare<br />

time, he would often buy used canvases<br />

and paint on the clean side (this<br />

painting has a half-finished figure by<br />

another hand on the other side).<br />

Though little is known about Fellini<br />

except for a few anecdotes, he produced<br />

a decent body of work from the late<br />

30s-60s.<br />

His paintings often have a quiet surreal<br />

quality or an element of surprise or<br />

humor to them. He used his marketable<br />

skill as a decorative painter and often<br />

incorporated faux marble tabletops as a<br />

foundation for his inventive still-lifes.<br />

Writing for the New York Times, Vivian<br />

Raynor reviewed the Schoelkopf<br />

Gallery’s December 1978 exhibit,<br />

(continued on next page)...

“Emile Branchard and William Fellini:<br />

Two 20th Century American Primitive<br />

Painters.” She wrote of Fellini, “His<br />

work is remarkable for its range of<br />

mood.... Many of the pictures include<br />

animals, sometimes to their detriment,<br />

as in the stately and minutely-painted<br />

flowers that are so upstaged by a<br />

demented kitten appearing over the far<br />

edge of the table.”<br />

The American Folk Art Museum has<br />

two works by Fellini in their collection.<br />

Bibliography: American Folk Art of<br />

the Twentieth Century, Johnson &<br />

Ketchum.<br />

Twentieth-Century American Folk Art<br />

and Artists, Hemphill & Weissman.<br />

Swan Lake<br />

William Fellini ( -1965)<br />

Oil on canvas<br />

Circa: 1960<br />

Size: 27" (h) x 35" (w)

Gas Station Beauty Queen<br />

Enamel paint on masonite<br />

Circa: 1960<br />

Size: 72" (h) x 24" (w)

Photo of Joseph Garlock,<br />

circa 1944, in front of his<br />

store, Bloomfiled, NJ<br />

Joseph Garlock<br />

immigrated from Russia<br />

to New York in 1904.<br />

After a bunch of odd<br />

jobs, Garlock and his<br />

wife settled in<br />

Bloomfield, NJ as the<br />

owners of a small fruits<br />

and vegetable store. In<br />

1948 he retired, and at<br />

sixty-four years, he<br />

found himself itching<br />

for something creative<br />

to do with his time.<br />

For the next several years, Garlock painted<br />

and sculpted somewhat compulsively. He<br />

painted at home and a while visiting his<br />

daughter Rose at her cabin in Woodstock, NY.<br />

Garlock's subjects ranged widely family<br />

portraits, local landscapes, pop culture, and<br />

religious ceremonies. He was inspired by<br />

images he saw in Life and Look magazines<br />

and created paintings based on photographs<br />

from these references.<br />

In his late 70s, Garlock developed palsy and<br />

sadly had to give up his brushes. He died in<br />

1980 at the age of 96.<br />

Joseph Garlock (18<br />

Oil on canva<br />

C<br />

27 3/4" (h) x 17<br />

The roadway here i<br />

the original sect<br />

Garden State Parkw<br />

began in Union C<br />

next door to Esse<br />

(where<br />

Note, how Garlock r<br />

the horizon as i<br />

wraps around

84-1980)<br />

Parkway<br />

s on glass<br />

irca: 1950<br />

5/8" (w)<br />

s possibly<br />

ion of the<br />

ay which<br />

ounty NJ,<br />

x County<br />

he lived).<br />

ounds off<br />

f the road<br />

the earth.

92.5%<br />

In the mid-1990s a cache of Garlock's work<br />

was found in a woodshed at his recently<br />

deceased daughters Woodstock property.<br />

James Cox, a local gallery owner, was called<br />

and immediately recognized the importance<br />

of the find and catalogued the work.<br />

Since then Garlock’s has been widely<br />

exhibited and collected.<br />

Exhibitions: "Joseph Garlock Paintings and<br />

Sculpture," The Cecille R. Hunt Gallery,<br />

Webster University, St. Louis, MO, 2003.<br />

"Old World, New Country: The Art of Joseph<br />

Garlock," The Center for Intuitive and<br />

Outsider Art, Chicago, IL, 2005.

Joseph Garlock (1884-1980)<br />

Woman with Roses<br />

Oil on canvas<br />

Circa: 1958<br />

Size: 23 1/2" (h) x 27 5/8" (w) sight<br />

Possibly a portrait or a tribute to his daughter Rose, who<br />

encouraged him to retire from his grocery store and paint. Rose<br />

had a cabin in Woodstock, NY—where this cache of works was<br />


Woodlands Miniature Bowl & Ladle<br />

Circa: 1820-1840<br />

Size: bowl; 3 3/4" (l) x 2 1/2" (w) / ladle; 3" (oal) x 2 1/2" (w)<br />

Probably Ojibwa based on the shape of the bowl. The ladle is one of the<br />

smallest that I have ever seen. The oval bowl is thinly hewn and exhibits<br />

a beautiful patina.<br />

Due to the scale and limited wear, they were probably part of a medicine<br />

bundle. I am not sure if they started life together, as it is difficult to tell,<br />

but together they make a special pair.

Woodlands Fawn Effigy Ladle<br />

Maple<br />

Circa: 1820<br />

Size: 5 1/8" (oal)<br />

An exquisite ladle that I first owned about twenty years ago.<br />

The effigy is quiet and skillfully carved with an economy of form.<br />

The elegantly shaped handle has thinly channeled accents.<br />

Provenance: Brant Mackley; Steve Powers; Ned Jalbert; Peter Brams

Southwestern Dance Mask (Kachina)<br />

Hide, earth pigments, trade cloth<br />

Circa: 1900<br />

Size: 10" (h)) x 8" (w)<br />

Provenance: John Molloy; Peter Brams

(right) Folk Art [Woodlands] Carved Grizzly Bear<br />

Iowa (possibly Mesquakie / Meskwaki)<br />

Circa: 1875<br />

Size: 10 7/8" (l) x 6 5/8" (w) x 6" (h)<br />

A large one-piece carved sculpture of remarkable character and surface.<br />

The hefty bear is down on all fours with one hind leg coming through to<br />

the front.<br />

Based on my extensive<br />

experinece with both<br />

Woodlands carvings and<br />

"white man" folk art, I am<br />

inclined to believe that this<br />

sculpture was carved by a<br />

Mesquakie / Meskwaki<br />

native (who at the time had a<br />

presence in Iowa). The<br />

sensitivity of line, character,<br />

and wood surface are<br />

hallmarks of reference and<br />

both the creature and craft.<br />

(left) Bear & Birch<br />

Walter L. Steward (Maine)<br />

Circa: 1920<br />

Size: 11 1/2" (h)) x 8 1/2" (w)

Folk Art Carved Greater Yellowlegs<br />

Long Island, NY<br />

Circa: 1900<br />

Size: 12" (l) x 6" (h)<br />

Provenance: Stephen O’Brien Jr. Fine Arts, Peter Brams Collection<br />

Attributed to Nelson Verity (1854-1947) and related to birds from the<br />

Powell Hotel rig. Three piece laminated construction (body one piece with<br />

laminated wings).<br />

Folk Art Carved Lesser Yellowlegs<br />

Polpis, Nantucket, MA<br />

Circa: 1880<br />

Size: 9" (l) x 4 1/2" (h)<br />

A geometric carving with a baleen bill. Previously had a label which read:<br />

"Lesser Yellowlegs found under (illegible) barn at Polpis 1929."<br />

Old second coat of paint covers a few shot scars.<br />

Literature: Joel Barber, "Wildfowl Decoys," New York, NY, 1932, pp. 68,<br />

87, plates 1, 54.<br />

Provenance: Copley Fine Arts, Peter Brams Collection

Folk Art Carved Golden Plover<br />

Massachusetts<br />

Circa: 1900<br />

Size: 13 1/2" (l) x 3 3/4" (h)<br />

Provenance: Russ & Karen Goldberger, Peter Brams Collection<br />

Stylish original paint and shoe button eyes with original bill. Flaking on<br />

other side.<br />

Folk Art Carved Turned-Head Yellowlegs<br />

Lombard Jones<br />

Sandwich, MA<br />

Circa: 1916<br />

Size: 7" (l) x 5" (h) (not including driftwood base)<br />

With it's head sharply turned almost ninety degrees this decoy was made by<br />

Lombard Jones for his uncle, Dr. Lombard Jones. Influenced by the Chipman<br />

family's hollow turned-head shorebirds that were also gunned in Sandwich's<br />

Old Harbor. Jones is known to have made<br />

yellowlegs and several peeps.<br />

In very good condition with gunning wear, bill is old replacement.<br />

Provenance: Copley Fine Arts, Peter Brams Collection

A Rare Mechanical Black-Bellied Plover Decoy<br />

Boston, MA<br />

Circa: 1868<br />

Size: 11 3/4" (l) x 8" (w) x 5" (h)<br />

Provenance: Stephen O’Brien Jr. Fine Arts, Peter Brams Collection<br />

A Rare Mechanical Black-Bellied Plover Decoy by Nathaniel Wales<br />

& Snow, Boston, MA, circa: 1868. Based on the Wales patent of<br />

1868, the wings are fabricated from cardboard and canvas and a<br />

cord weaves through the wood carved body. Stamped “WALES &<br />


Maine Duck Guide Sign<br />

Circa: 1900<br />

Size: 36" (l) x 17" (h)<br />

Here is a cool well weathered and worn sign. Constructed from the<br />

top of an old blanket chest (ghost marks from big strap hinges<br />

visible) and a duck decoy (cut in half), this sign served as a marker<br />

for an old duck hunting guide.<br />

Old losses as visible in the photo with a great crazed paint surface.

Folk Art Miniature Ducks<br />

Willie Ross (1878-1954)<br />

Chebeague Island, Maine<br />

Circa: 1900<br />

Sizes range from: 4 1/2" (l) to 2" (l)<br />

A rare set of miniatures, mostly mergansers, by<br />

known decoy carver, Willie Ross of Chebeague<br />

Island, Maine. Ross gifted the set to a family<br />

member before his death in 1954<br />

(documentation letter included).

Tyger Tyger, burning bright,<br />

In the forests of the night....<br />

Carved and Painted Folk Art Tiger Wall Box<br />

David Heber Kimball (1850-1927)<br />

Dated May 5, 1917<br />

Meadowville, Rich County, Utah.<br />

Size: 18" (h) x 15" (w) x 5" (d)<br />

The carvers father was Heber C. Kimball (1801-1868) who was a<br />

leader in the early Latter Day Saint movement. He served as one of<br />

the original twelve apostles in the early Church of the Latter Day<br />

Saints and as the first counselor to Brigham Young in the First<br />

Presidency of The Church of Jesus Christ of Latter-day Saints.

Dilmus Hall (1900-1987)<br />

Lamb<br />

Concrete, rebar, paint<br />

Circa: 1970’s<br />

Size: 18" (l) x 10" (w) x 13 1/4" (h)<br />

Provenance: Barbara Archer Gallery; Larry Dumont Collection<br />

As a child Hall would fashion small sculptures made from flour mixed<br />

with tree sap. Discouraged by his father, he didn’t pursue art until later<br />

in life.<br />

After serving in WWI as a stretcher bearer, he returned to Georgia and<br />

worked as a hotel bell captain, a sorority house busboy and then as a<br />

fabricator of concrete blocks for a construction company. It was here<br />

that Hall found himself again<br />

working with his hands.<br />

He began making concrete<br />

sculpture around his home. His<br />

sculpture combined a mix of<br />

Christianity with an African<br />

conjuring culture that empowered<br />

objects with protective powers.<br />

Later he would make little tableaus<br />

with wood and putty that recall the<br />

modeling technique he developed<br />

as a child.<br />

Still image from the documentary, The<br />

Mind's Eye, with Hall at his home, circa<br />



Gorham, Maine<br />

Oil paint on tin<br />

Circa: 1890<br />

Size: 13 1/2" (w) x 38" (h)<br />

A graphically strong advertsing sign from Carswell The<br />

Druggist, Gorham, ME. Painted in a vibrant yellow and black<br />

with red shadowed letters on BUG KILLER and an orange on<br />

the huge bug (Maine Potato Beetle).

Physical Graffiti<br />

English School Desk<br />

Circa mid 1920s<br />

Size: 29" x 16"<br />

Most dates are from the mid 1920s with one errant “1943.”<br />

Some of the surnames are: Leitch; Robin; Hunter; Boyd; Somerville;<br />

Marshin; Bonnar; Black; Grant; Stephen; Conner; Baxter; Hately; Irvin;<br />

Lamont and Dunford.

"Perpitraight, Peerless, Perponderant"<br />

Melvin Way (1954-)<br />

Black ink on paper<br />

Circa: 2000<br />

Size: 5 1/2" (w) x 4" (h)<br />

The Outsider Artist Melvin Way suffers from schizophrenia,<br />

bi-polar disorder, and diabetes.<br />

Way has stated, “All my works have to go thru emissions,<br />

baptisms, and transmigrations before I release them into the<br />

stratosphere, I carry 500 drawings at a time in my raincoat, and<br />

they go thru rain sleet and snow, sometimes staying in my pocket<br />

for 6 months at a time.”<br />

Art critic Jerry Salz says of Way’s work, “[He is] a mystic<br />

visionary genius...one of the greatest living American artists.<br />

Melvin Way makes knotted diagrams of numbers, letters, lines,<br />

and arrows that look like alchemical equations.”

Three early drawings by<br />

Jonathan Borofsky from his<br />

number series.<br />

Provenance: Paula Cooper<br />

Gallery; Peter Brams Collection.<br />

(left) 2522585 / 1978 / 8 1/2"x 11" a<br />

strong early Borofsky ballpoint pen<br />

drawing.<br />

(above) 2481385 / 1976 / 4 3/4"x 4<br />

3/4" done with red, black and blue<br />

ballpoint pens on graph paper.<br />

(right) 2829924 / 1983 / 5"x 3" on<br />

"Phone with Paula and Parents" blue<br />

ballpoint pen on note paper.

Rare Redware Monkey Bank & Whistle<br />

Pennsylvania<br />

Circa: 1860<br />

Size: 5" (oah)<br />

Provenance: David Good, Peter Brams

Rare Redware Serpent & Figural Jug<br />

Leonard Kopp<br />

Lineboro, MD or Black Rock, PA<br />

Circa: 1860-1880<br />

Size: 7 3/4 (h)" x 8" (wide w/handle)<br />

Provenance: Kopp family by descent;<br />

Robert Girouard, Peter Brams<br />

Collection<br />

Signed on bottom in incised script “L.<br />

Kopp.”<br />

Kopp was a known production potter in<br />

the Maryland area and all his known<br />

pieces are stamped—this is the only<br />

known with freehand script signature<br />

and by far the finest example of his<br />

documented work.

A large screw-type nutrcr<br />

featuring an expressive m<br />

well defined features and<br />

mouth. His hair is finely<br />

shaped almost like a leaf<br />

handle is carved as a fish<br />

surface is first rate—a rea<br />

lovers piece.<br />

A tour-de-force of design<br />

execution. One of the mo<br />

intricate, complex and h<br />

carved coquilla boxes I h<br />

(left) Exceptional English<br />

Figural Nutcracker<br />

Boxwood (or fruitwood)<br />

Circa: 1720-1760<br />

Size: 11" (oal")<br />

(right top) French Folk Ar<br />

Snuffbox - Six Men & A D<br />

Circa: 1854<br />

Size: 3" x 2" x 1 1/2"<br />

An exceptional French co<br />

nut snuffbox. Masterfully<br />

with six men and a dog o<br />

top. The interior is signe<br />

maker and dated 1854.

een<br />

acker<br />

an with<br />

an open<br />

done—<br />

. The<br />

. The<br />

l treen<br />

t Treen<br />

og<br />

quilla<br />

carved<br />

n the<br />

d by the<br />

(below) Treen Alligator Nutcracker (Screwtype)<br />

French<br />

Circa 1830-40<br />

Size: 9 1/2” (l)<br />

The Leavenworth Nutcracker Museum has one that looks to be by<br />

the same hand.<br />

and<br />

st<br />

gh-relief<br />

ave seen.

Folk Art Religious Tableau, "The Sacred Family"<br />

Buffalo, New York<br />

Italian-American<br />

Circa: 1930<br />

Size: 16" x 13"<br />

Provenance: Tim Hill, David Wheatcroft, Peter Brams<br />

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

A complex folk art tableau of the Sacred Family; Mary,<br />

Joseph and the baby Jesus. Made out of crate wood, the<br />

carved and painted figures and elobotate platform were<br />

carved by an Italian-American in New York.


Salem, Ohio<br />

Circa: 1850<br />

Size: 10 1/2” (w) x 15 1/2” (h) (sight)<br />

Rare Abolitionist broadside. Excellent condition.<br />

Union with Freemen—No Union with Slaveholders.<br />


Anti-Slavery Meetings will be held in this place, to commence on<br />

at in the To be Addressed by Agents of the Western ANTI-<br />


Three millions of your fellow beings are in chains—the Church<br />

and Government sustains the horrible system of oppression.<br />

Turn Out!<br />


GOD.<br />




Stop Lynching - Shame of America<br />

Rebel arts<br />

Circa: 1939<br />

Size: 22" (w) x 28" (h) (sight)<br />

Bold and graphically strong red silkscreened banner. Designed by<br />

Rebel Arts to be carried in May Day.<br />

Rebel Arts was a politically left arts collective formed in New<br />

York City that included, among others, Harry Herzog, Alex<br />

Haberstroch and Fairfield Porter.

It’s About Time!<br />

Circa: 1920<br />

Size: 27" x 29"<br />

An unusual and graphically strong American Folk Art<br />

hooked rug. It has a very contempory aesthetic and feels<br />

like a precursor of early Pop Artist Dorothy Grebenak.

Family Gathering At Our Texas Farm / graphite on paper / 1936 / 7 5/8" (h) x 11 3/4" (w)<br />

This unsigned, but dated group of folk art drawings, completed over a<br />

few weeks in July and August 1936, captures the quaint insight into<br />

the world of an unknown proudly Texan artist.<br />

They illustrates a family gathering, the interior, and exterior of a small<br />

home, church, school, farm life and a couple in a field of bluebonnets.<br />

The renderings are drafted with a good sense of composition,<br />

perspective, and handling of the graphite.

(top) My Sunday Texas Church / graphite on paper / 1936 / 7 1/2" (h) x 11 3/4" (w)<br />

(bottom) Our Texas Home / graphite on paper / 1936 / 7 5/8" (h) x 11 3/4" (w)

Rare British Sign Language (BSL) Copper Plate Printed Handkerchief<br />

Circa: mid 19th century<br />

Size: irregular and unmounted ~ 12" x 14"<br />

“How To Teach The Deaf and Dumb a Language....” I have not been able<br />

to locate another like (BSL) example.

Rare American Sign Language (ASL) Copper Plate Printed Handkerchief<br />

Circa: mid 19th century<br />

Size: irregular and unmounted ~ 12" x 14"<br />

“How To Teach The Deaf and Dumb a Language....” Have only located one<br />

other - in the Cotsen Children’s Library, Princeton University.

Provenance: Cavin-M<br />

Gallery; Ricco/Mare<br />

Gallery; Larry Dumo<br />

Collection<br />

The front is compos<br />

two families at hosp<br />

beds. The back, with<br />

large Hell Hound, is<br />

recent discovery fou<br />

while considering a<br />

mat board—now ref<br />

to show both sides.<br />

Sister Gertrude Mor<br />

(1900-1980)<br />

Untitled [Hospital Be<br />

with Hell Hound]<br />

Tempera, graphite o<br />

window shade<br />

Circa: 1965-1975 (n<br />

Size: 17" (w) x 17"

.d.)<br />

(h)<br />

gan<br />

ds<br />

n<br />

orris<br />

sca<br />

nt<br />

ed of<br />

ital<br />

a<br />

a<br />

nd<br />

new<br />


Eye Opener Liquor Bottle<br />

Circa: 1880<br />

Size: 11 1/4" (h)<br />

Who doesn’t love a rebus—even if its just a short one. Unusual<br />

stoneware bottle with a three dimensional and realistically glazed<br />

eye ball sticking out of one side with the word “opener” below it<br />

and a minstrel-like figure dancing on the other side.

Eight is Enough<br />

Iowa<br />

Concrete and polychrome<br />

Circa: 1920-1930<br />

Size: range from 4 1/4" (h) - 7 1/4" (h)<br />

Provenance: Larry Dumont<br />

Illustrated in, The Magazine Antiques, July/August 2019, p. 118<br />

A family of eight concrete dolls. Found as a group in Iowa,<br />

these “dolls” are unique and mysterious. Sensational surfaces.

A Group of Fine Gogottes (offered individually)<br />

Fontainbleu France<br />

Oligocene epoch (33.9 million to 23 million years old)<br />

Size: 22" (l) / 9 1/2" (h) / 9" (h) / 13" (h)

A gogotte is a millions years old naturally shaped mineral concretion formed of tiny<br />

quartz fragments held together by calcium carbonate. Principally found in<br />

Fontainebleau, France, these mother-nature made sculptures have inspired artists from<br />

Jean Arp, Henry Moore and Louise Bourgeois. Louis XIV favored them and the have been<br />

exhibited at Versailles since the late 17thC.

Unusual Set of Nine Scale<br />

Model Photographs<br />

Circa: 1915-25<br />

Size: 5" x 7" (each)<br />

Aside from the mayhem, I<br />

have not figured out fully<br />

what is going on within this<br />

set of images, but a lot of<br />

work went into creating the<br />

sets and subjects.<br />

I am not exactly sure of the<br />

scale of the original sets, but<br />

I am figuring something like<br />

an elaborate train set.

Willian (Bill) Anhang was born in Poland in 1931 and immigrated to<br />

Canada with his family in 1939 to escape the Nazi occupation. As a<br />

young man, Anhang trained as an engineer and worked in<br />

telecommunications. In 1975, A Guru spoke to him and said he must<br />

become an artist. Since then Anhang’s has devoted himself to bring “new<br />

light to the planet.”<br />

The enamel works seen here are among Anhang’s earliest works. They are<br />

small-scale abstractions—many with suggestions of another world or<br />

grand universe. They have undeniable energy. Well composed, not too<br />

busy and with intense, saturated color.<br />

Anhang later incorporated real light into his work—paintings illuminated<br />

by hundreds if not thousands of blinking and programmed LEDs and<br />

fiber optics.<br />

These early enamel works may be<br />

seen as his acoustic period, like Dylan<br />

before Newport, and then he plugged<br />

in, went electric, and never really<br />

went back.<br />

Anhang’s work was recently exhibited<br />

at American Folk Art Museum in the<br />

exhibit, When the Curtain Never<br />

Comes Down, 2015.<br />

The Canadian Broadcasting<br />

Corporation (CBC) produced a 20<br />

minute documentary on Anhang,<br />

Billsville, and is available on Youtube.<br />

Photo of William (Bill) Anhang in his studio.

William Anhang (1931-)<br />

Untitled [Winged Boots]<br />

Enamel on copper<br />

Circa: 1979<br />

Size: 6 3/4" (w) x 4" (h)<br />

William Anhang (1931-)<br />

Untitled<br />

[Character on Blue]<br />

Enamel on copper<br />

Circa: 1979<br />

Size: 7 1/8" x 6 1/2" (h)


W O R K S O F<br />

A R T<br />

& americana<br />

109 3rd Place #2, Brooklyn, NY 11231 | 718.625.1715 or 917.518.0809<br />

stevenspowers.com | member: ADA

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