G O O DW O O Dtreen • folk art • americana

volume 1

Copyright © 2008 by Steven S. Powers • All Rights Reserved • All photography exceptwhere noted © 2008 by Steven S. Powers

Printed in U.S.A. by Kirkwood Printing,Wilmington, MA

For: Leslie, Nathaniel & Eli

As a member of The AntiquesDealers' Association of America(ADA) all objects are guaranteedas represented.

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ood wood i s grea t

t r e e n — e x c e p t i o n a l ,

surpr i s ing , unexpect -

ed , remarkable , subl ime and

(for the al l i terative), wonderful

wood!

Good wood is ash, elm, maple,

cherry, p ine , poplar, wa lnut ,

birch and boxwood. It is wood

carved th in , de l ica te and

strong—worn soft l ike skin or

warm glazed porcelain.

I t i s complex, l ike a surface

acquired through use and age—

air, f ire, water, oi l and food—

carbonized, burnished, patinat-

ed and oxidized.

Good wood is tacti le and some-

times sensual, often subtle and

understated, however confident

and uniquely present.

The aim of the GOOD WOOD

catalog is to not only represent

and de f ine the very bes t in

North Amer ican (and se lec t

English) treen, but also to offer

choice American folk art and

historical Americana.

G

Obj. 1: New England Handled Ash Burl BowlCirca: 1780-1800Size: 18" L x 14" W x 6 3/4" H

Provenance: Ted Trotta & Anna Bono, ShrubOak, NY; Peter Brams, Jackson Heights, NY

Literature: NORTH AMERICAN BURLTREEN: COLONIAL & NATIVE AMERICAN,Steven S. Powers, 2005, page 137, pl. 7/23a/b.

The quality of this bowl is truly remarkable—from the masterful executionof its organic bean-like form, tab handles,thin walls, dramatic concave lead into thefoot and refined details of the rim (which issharply beveled and dips in the middle). Asfor surface integrity, the rich dark nuttybrown hue and burnt sienna undertones ofthe exterior contrasted with the dry tonalgradations of the interior makes it a benchmark for perfection.

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Obj. 2: Rare Marine Ivory Teetotum & StandCirca: 1680-1710Size: (ball) 1 3/4" D; (stand) 3" H x 2" W

Related literature: see, The Adler Collection,Sotheby’s, London, Feb. 24, 2005, lot 93

Carved from solid marine ivory each of thethirty-two faceted sides are numbered. Onlya few such examples are known. I know ofno other with an accompanying stand.

A teetotum is a polygonal gambling ball ofwhich there are numerous variations (theJewish dreidel being one).

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Obj. 3: Folk Art Walking StickCirca: 1840Size: 33" OAL

A pre-Civil War and atypical cane with a portraitbust of a woman carved from within the solid ofthe shaft. She is polychromed and has ringletcarved hair (reminds one of early carved dollheads).

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Obj. 4: Carpenter’s Carved Walking StickCirca: 1880Size: 34 3/4" OAL

A superb occupational cane with thirty-oneunique carvings (each painted—including sevenanimals and twenty one tools) relating to the carpenters trade and the owner. The grip displaysa bearded man and a dog. The shaft includes:Odd Fellows three-link-chain, a turtle, frog, fish,snake, two hoofs, saddle, vine, iron hook, twodifferent saws, a plane, two chisels, coopers drawknife, broad axe, brace, wrench, pliers, calipers,file, horse shoe, nail, stirrups, shovel, hatchet,fork & knife.

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Obj. 5: American Painted Tin Dome Top BoxCirca: 1820-30Size: 9 1/2" W x 6" D x 7 1/2" H

Provenance: Private, NY

Related literature: AMERICAN PAINTED TINWARE, Martin& Tucker, 2007, volumes III-IV

Attributed to the Lansingburg, New York tinshop ofAugustus & Oliver Filley. This box was picked directlyfrom a house in the Coeymans/New Baltimore, NY area(purportedly from the house depicted on the box—theFilley tinshop was located just 20 north up the HudsonRiver). The Dutch architecture seen in the painting is typical of the early houses dotted along the Hudson.

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Obj. 6: New York City Draft Riots BroadsideDated: Saturday, July 18, 1863Size: 18 5/8" x 11 3/4"

“STOP and THINK!” The New York City draft riots (July11-16, 1863) began as an unruly response to the first USconscription act—mob mentality escalated it into a widespread racist massacre. That weekend, “the cityawoke one morning to find dwellings, fences, and sidewalks placarded with small posters....The posterswarned the rioters to beware of outraged public feeling. Amost wholesome effect was produced.”1 The man responsible for the posters was printer-become-activist,Sinclair Tousey (1818-1887). “Keep the peace and all willbe well. -A Democratic Workingman.”

1 Sinclair Tousey obituary, New York Times, June 17, 1887

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Obj. 7: Iroquois Double Handled Elm Burl BowlCirca: 1740-1760Size: 22 1/2" L x 18 1/2" W x 8 1/2" H

Provenance: Private, NY collection since 1958

The beauty of this bowl is the graceful undulatingrim—rhythmically guided along the slow slopes ofthe handles and sides. The rim of prototypicalIroquoian double handled bowls dip down inbetween the valley of the handles—here it comesback up. The smooth oval open handles are alsoatypical (usually the are rectangular or half-moons).

The surface is untouched and maintains a dry patina—possessing a fine burnish to the handlesand rim. The wood specimen had a number of natural inclusions that did not bother the maker orI, (one has an 18th century lathe plaster fill that hasa remarkable burnish to it).

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Obj. 8: Three Masted Bark, MAINEOil on Academy Board (Wadsworth,Howland & Co. Boston, MA)Circa: 1890-1900Size: 18" H x 24" W

Ship portraits tend towards academicor schooled works—here is a striking, well balanced folk artexample done with a tight palette.

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Obj. 9: American Carved Goose Duster or Brush HandleCirca: 1860Size: 15 7/8" W x 6 1/2" H x 1 1/4" D

Great lines. Perfectly oxidized poplar. Probably PA origin.

Obj. 10: Rare American Alphabet BoardCirca: 1820-1840Size: 10 1/2" H x 8 1/8" W

Rare teaching guide with great paintand surface. Backside displays a quietpainting of a cow. I like looking for the incidentals words and acronyms, e.g.,“FOX”, “DMV”—also that the numbersgo from 1-11.

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1919

2020

Obj. 12: Root Burl Carved EagleCirca: 1860Size: 5 3/8" H x 4 1/4" W x 2 1/2" D

Carved from solid of an incredibly dense specimen, this eagle carving is beautifullydetailed and has a great presence. Probably PAorigin. I’ll take this over a Schimmel any day.

Carved initial, “E” on base front left.

Obj. 11: Folk Art Painted Snuffbox - Ohio FlagCirca: 1810-1820Size: 3 1/8" D

Rare American painted papier mache� snuffboxwith a wind flapped flag displaying seventeeneight-pointed stars. Likely made commemorating Ohio statehood (1803).

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2323Obj. 13 (detail) : Lenni Lenape Seated Human Effigy Feast Ladle

THE THOMPSON FAMILY HUMANEFFIGY FEAST LADLE

This important Lenni Lenape (Delaware) humaneffigy feast ladle is quite large in scale—the bowlis carved exceptionally thin and the figure sittingatop the incurvate crook of the handle has deli-cate open carving between the arms and legs.Above the figure’s right eye a feather pattern iscarved (likely representing a tattoo or head-dress). A small cavity is present on the chestwhere the heart would be, (it is unclear whetherthis was carved or incidental to age). It main-tains a dry untouched surface with remarkablepatination to the figure and high points. Theladle was found decades ago in the basement ofthe Alexander Thompson homestead, inThompson Ridge, Orange County, New York.

William Thompson (ca. 1700- ca. 1780) camefrom England to America in 1729 and settlednear Hamptonburgh, Orange Co., NY.1 He lateracquired 600 acres and his three sons, Alexander(1739-1814), Andrew (ca. 1741-1804), andRobert (1742-1832) divided the propertybetween them. Alexander took the best lot andbuilt a fine home and a working farm. His son,Alexander II (1782-1868) later took over theproperty and became one of the areas most suc-cessful farmers.2 In 1803, Alexander II marriedHannah Bull (1783-1865), a descendant ofWilliam Bull (1689-1775) and Sarah Wells(1694-1796), of Hamptonburgh, Orange Co.,NY. Sarah Wells was the daughter of ChristopherDenn, who was a partner of the originalWawayanda Patent. She was also the first perma-nent settler of Orange County.3

The figure seen here is powerfully portrayed—the face is minimally carved with only the eyesand nose delineated (no mouth). This reductive

Fig 1: Portrait of Alexander Thompson IIAmmi Phillips (1788-1865)Circa: 1824Size: 24" W x 30" H

Phillips also painted portraits of the subject’s wife, Hannah Bull; his cousinRobert R. Thompson and wife SarahMcCurdy; and Daniel and Katherine Bull(Hannah’s parents).

Photo: © Christie’s Images Ltd. 1982

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Obj. 13: Lenni Lenape Seated Human Effigy Feast Ladle

Circa: 1720-40

Size: 12" OAL; (bowl) 7" W x 6" D

Provenance: Private Collection, Orange Co., NY

carving is representative of great Woodlands sculpture—the maker looking to capture theessence of the subject—it is not an attempt at portraiture. Similar faces are seen on pre-contactstone maskettes4 and on an important Southern New England ash burl human effigy bowl.5 Thefull figure sits with backside to the ground, knees up and arms forward. This posture is seen ona small sample a ladles and a pipe. A smaller Mohawk ladle6 collected at the Saint RegisReservation, Franklin Co., NY displays a similar character (though seated in the opposite direc-tion). Another related effigy ladle7 descended within a Herkimer Co., NY family, it too presentsa full-seated figure and faces the bowl. There is a small body of human effigy ladles that holdand/or drink from a keg, however they are stylistically quite different in feel and though similarin posture, they do not appear to be related to these seated figure ladles—something else is goingon here. This figure (and the one at the AMNH) has arms that rest to the knees and looks tohave had held something between them. A grey stone pipe8, as well as the aforementionedHerkimer Co. ladle, displays a seated figure that holds a nondescript cylinder between its knees.Based on the form and architecture it is likely that the ladle seen here, as well as the ladle at theAMNH, also held a cylinder-type carving across its knees. It is proposed that what this tube rep-resents is some sort of scroll (possibly a document on parchment or a rolled wampum belt). Atthis point what the cylinder represents is conjecture, nonetheless it is a compelling device andwarrants additional study.

1 THE ORIGINAL HOUSES ON THOMPSON RIDGE 1778-1822, an essay by an unknown author, obtained from theOrange County Historical Society. Additional information on the history of the Thompson’s and the founding ofThomson Ridge can be found on the web.

2 Seese, Mildred Parker, OLD ORANGE HOUSES, Vol II, 1941, p.85 “Good farmers were the Thompsons. ...in 1819[the] property [of Alexander Thomson II was rated] ‘the best improved farm of less than 100 acres’ in the county.”

3 The story of Sarah Wells has been written about many times—here from the New York Times, September 14, 1884,WILLIAM BULL’S FORTUNE, “...a sixteen year old girl [Sarah Wells] trampling in the wilderness where no white manhad ever been before, and not a civilized being lived, with wild men [Indians] as her guides....”

4 Willoughby, Charles C. Antiquities of the New England Indians. Cambridge: Peabody Museum of Archaeology andEthnology, 1973, p.163.

5 Powers, Steven, S. North American Burl Treen: Colonial & Native American. Brooklyn, NY, 2005, pps. 100-102.

6 American Museum of Natural History catalogue no. 50.1/1555

7 Private collection

8 Private collection

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Obj. 14: Whalebone Checkerboard with Drawer and Original Game PiecesCirca: 1840-60Size: 12 7/8" x 12 7/8" x 1 3/4"

Exceptional gameboard and a great rarity of scrimshaw. Fine details include a molded edge, turnedlegs, and the drawer has a nicely scalloped edge and thumb recess. I love the shrinkage cracks,e.g., in the center where the bone feathers out like the joinery of a fine Scottish bicker or quaich.

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Obj. 15: Carved Double Heart Love TokenCirca: 1840Size: 5 3/4" x 4 1/2" x 1 1/8" (shown actual size)

Large and bold example. Your heart(“JF”) is in mine (“TF”). Great grungyred paint.

Obj. 16: Carved Maple Burl KnucklesCirca: 1820-40Size: 4 1/2" x 2 1/2" x 3/4"(shown actual size)

Tough Love!

L ove tokens were probably theinspiration for the earliestfolk art—possibly first craftedbefore man could speak.Examples can be found inevery culture, in any period,and in any material.

Here are some first rateexamples in wood.

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Obj. 17: Carved Ash Burl Love Token with Red Wax FillCirca: 1841Size: 1 7/8" x 1 7/8" x 3/16" (shown actual size)

front: A. E. KINGPORT / CHURCHVILLE / DAUPHIN, CO.PA, BORN / JUNE 7 / 1841

back: FROM / GEORGIA

Abraham E. Kingport served as a private in the 127th PAInfantry, Company G (Aug. 09, 1862 - May 29, 1863).

Obj. 18: Elm Rolling Pin - Love TokenDated: 1725Size: 14" x 1 3/4" D (shown actual size)

English. Remarkable object! The same sentiment is foundon a pewter plate, hallmarked 1674, at ColonialWilliamsburg.

ANN RUSSELL / THE • GIFT • IS / SMALL • THE / LOVE • IS/ ALL • IVLY / THE • 18 • 1725

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Obj. 19: Tree Growth Engulfs Toy Pop GunCirca: 1920-1930Size: 15-1/2" H x 26" W x 6-1/2"

NATURE TRUMPS MAN! Incidental conceptual art—Mother Nature takes gunaway from mankind. Don’t worry SecondAmendment-ists—your guns are safe.

Southern United States.

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Obj. 20: Western Great Lakes / Prairie Burl Effigy Feast Bowl

Circa: 1820

Size: 15 7/8" x 14 1/2" x 5 1/8"

Less is more. The line quality of this bowl is simply poetic.

The castellated sides depict two opposing Manitous in

reductive terms. Possibly the finest regional example extant.

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Obj. 21: George E. Morgan (1870-1969)Bridge Dividing Kennebec RiverOil on canvas boardDated: July 1963Size: 16" x 12"

Signed and dated on verso: George E. Morgan, July 1963

Printed name affixed to lower left: George E. Morgan

Provenance: Anne K. Wardwell, Farmingdale, MEMr. & Mrs. Sumner and Helen Johnston, CTJoe Wetherell, North Salem, NYRaymond Saroff and Howard Rose, New York, NYPeter Brams, Jackson Heights, NY

Exhibitions: The Playhouse, Boothbay, ME 1963Farnsworth Art Museum, Rockland, ME, “George E. Morgan:Self Taught Painter of Maine” July 16 - October 11, 1998The Center for Intuitive and Outsider Art, Chicago, IL,“George E. Morgan: Maine Streets” February 5 - April 10,1999

Literature: “George E. Morgan: Self Taught Maine Artist,”FOLK ART MAGAZINE, Summer 1998, p.30 by ChippyIrvine

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Obj. 22: George E. Morgan (1870-1969)Moulton MillOil on canvas boardDated: January 1963Size: 20" x 16"

Signed, titled, and dated on verso: George E. Morgan,Moulton Mill, Moulton, ME, January 1963

Provenance: Anne K. Wardwell, Farmingdale, MEMr. & Mrs. Sumner and Helen Johnston, CTJoe Wetherell, North Salem, NYRaymond Saroff and Howard Rose, New York, NYPeter Brams, Jackson Heights, NY

Exhibitions: The Playhouse, Boothbay, ME 1963Farnsworth Art Museum, Rockland, ME, “George E. Morgan:Self Taught Painter of Maine” July 16 - October 11, 1998The Center for Intuitive and Outsider Art, Chicago, IL,“George E. Morgan: Maine Streets” February 5 - April 10,1999

Literature: “Mainer’s Art Emerges in a Fairy Tale,” BANGORDAILY NEWS, Bangor, ME, September 19-20, 1998, JennaRussellUNEXPECTED ELOQUENCE, The Edith Blum Art Institute,Bard College, Annandale-on-Hudson, 1990, by Howard Rose

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Obj. 23: George E. Morgan (1870-1969)Railroad Station, [Randolph, ME]Oil on canvas boardDated: December 1962Size: 16" x 20"

Signed, titled, dated and inscribed on verso: George E.Morgan, Randolph, ME, 239 State Street Augusta, December1962

Provenance: Anne K. Wardwell, Farmingdale, MEMr. & Mrs. Sumner and Helen Johnston, CTJoe Wetherell, North Salem, NYRaymond Saroff and Howard Rose, New York, NYPeter Brams, Jackson Heights, NY

Exhibitions: The Playhouse, Boothbay, ME 1963; FarnsworthArt Museum, Rockland, ME, “George E. Morgan: Self TaughtPainter of Maine” July 16 - October 11, 1998; The Center forIntuitive and Outsider Art, Chicago, IL, “George E. Morgan:Maine Streets” February 5 - April 10,1999

Literature: “Painter Makes Primitives of Early BoyhoodScenes,” KENNEBEC JOURNAL, Augusta, ME, February 18,1966, Ruth Henderson

The Kennebec Central Railroad was a narrow gauge line thatran five miles and connected Randolph to the NationalVeterans Home in Togus, Maine (the nation’s first veteranshome).

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Obj. 24: English Treen NutcrackerDated: 1798Size: 4 3/4" x 1 5/8" x 1/2"

Intricate incised carving with complextracery and cross-hatch patterns allover. Dated 1798 and bears the initials, “JB.” Boxwood. English.

For related examples see: Pinto, Treenand other Wooden Bygones; Owen Evan-Thomas, Domestic Utensils of Wood;and Levi, Treen for the Table .

Obj. 25: American Ash Burl Covered Burl BowlCirca: 1820-1840.Size: 5 1/2" D x 7" H

A fine and unusually tall and narrow form—nicely turned from a well figured burl witha well fitted top and thin body. Mushroom style finial is turned from the solid. Complexsurface—retaining original and well alligatored shellac.

Retains old collection label on bottom: “H. M. Wiltsie #74.”

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Obj. 26: Scottish Ebony (and Rosewood) & Ivory Snuff JarCirca: 1700-1720Size: 5 1/4" H x 5 3/4" W

This exceptional tobacco jar relates in style and form to baluster style snuff mulls of theJacobite period. The treen cover is mounted with an ivory finial in the form of a crown.

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Obj. 27: American Folk Art Tobacconist Sign BoardCirca: 1820-40Size: 14 7/8" H x 6 3/16" W x 3/4"

Exceptional snuff/tobacco trade carving depicting an American Indian conjoined with aScottish Highlander (both symbols of the tobacco market). Carved from the solid ofwhite pine with original and undisturbed polychromed surface.

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THE EVOLUTION OF THE WATER MANITOUAS SEEN THROUGH ITS PRESENCE INWOODLANDS BOWLS & LADLES

At the time of European settlement in North America,the aboriginal natives who had occupied the conti-nent for tens of thousands of years already had inplace centuries-old traditions within their way of life,mythologies, and material culture. They had distinctregional vernaculars within the applied arts, incorpo-rating carved, drawn, and woven depictions of ani-mals, humans, and mythological spirits into aspectsand objects of everyday and ceremonial life. Evidencesupports naturalistic, stylistic, and reductive interpre-tations of life forms and symbolic devices on myriadmaterials ranging from wood, native metals, fibers,animal skins, and pottery. Acculturation between theAmerican Indian and Europeans forever changedthese traditions and eventually all but forced themout. This writing focuses on the evolution of abstractdepictions of a mythological Manitou on woodencarved bowls and spoons (ladles) from theWoodlands people from the time of the first Europeansettlements in New England (early- to mid-16th cen-tury) through the early- to mid-19th century.

Important to the mythological belief system of theWoodlands cultures were water spirits or Manitous.Some Manitous were realized in the form of what theOjibwa called the Mishipizheu or UnderwaterPanther (also called Gitche-anahmi-bezheu). Thisguardian and keeper of the rivers, lakes, and oceanswas both feared and revered and is often depicted oneffigy bowls, ladles, and ball clubs as a snake-likefeline with horns, power lines, sharp teeth, and aspiked tail.

Fig. 1. Hudson River Valley Double Handled Ash Burl BowlCirca: 1660-1680 (or earlier)Size: 25" L x 22" W x 8" H.

Collection: Private

A large mid- to late-17th century ash burl feast bowl(Fig. 1) gives us one of the earliest woodcarvings ofan Eastern Woodlands interpretation of this Manitou.In the understated and reductive style of theWoodlands people, the bowl is masterfully executedwith consistently thin walls and an engaging linequality—a large oval with sweeping rounded tabs ateither end, of which demilune cutouts are incorporat-ed to serve as handles. If we only had this singularexample, we may interpret these handles as nothingmore than utilitarian handles. However, given a bodyof related Woodlands carvings, it will be shown thatthese demilune cutouts are abstract depictions of theeyes of the water spirit or Manitou.

A very large ash burl feast ladle (Fig. 2), also of thesame period, displays a large terminal composed of anoval tab with cutout demilune. This ladle and the pre-vious bowl are likely two of the earliest non-excavat-ed examples displaying this diagnostic carving.

A bowl (Fig. 3) in the collection of The Museum ofCivilization, Gatineau, Canada provides similarcutouts, albeit within a more complex composition.This important bowl is masterfully designed and exe-cuted with bold representations of these characteristichalf-moons. Additionally, the openwork handles arestepped and have an incurvate lead to the roundedend castellations.

With a bridge of three-quarters of a century and a dis-tance of over a thousand miles, a complexly carvedash burl bowl (Fig. 4) displays castellated terminals oflobes and points, each delineated by in-cutting. Theselobes and points represent the head of the Manitou—the lobes and demilune cutouts are seen as its eyes,and the points, its horns. This particular representa-tion is the most complete abstract depiction of theManitou discussed herein and can be seen almost as

Fig. 2. Northeastern Woodlands Ash Burl Effigy LadleCirca: 1660-1680Size: 11 1/2" OAL

Collection: Private

Fig. 3. Eastern Great Lakes Doubled HandledAsh Burl Effigy BowlCirca: 1740Size: 17 1/2" L x 14 1/2" W x 8 3/4" H

Collection: Museum of Civilization, Gatineau,QC, Canada

Fig. 4. Great Lakes Ash Burl Effigy BowlCirca: 1820-1840Size: 17 1/2" L x 15 1/2" W x 6 1/2" H

Collection: Private

Fig. 5. Great Lakes Ash Burl Effigy BowlCirca: 1850Size: 16 1/2" L x 13" W x 5" H

Collection: Detroit Institute of Arts (81.624)

Fig. 6. Great Lakes Ash Burl Effigy BowlCirca: 1850Size: 17 1/8" L x 15 1/2" W x 5 1/2" H

Collection: Detroit Institute of Arts (81.625)

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Fig. 12. Iroquois Double Handled Ash Burl BowlCirca: 1780-1800Size: 25 1/8" L x 20 1/4" W x 8 5/8" H

Collection: Private

the Rosetta Stone of understanding more abstract or partial depictionsof the Manitou.

In GREAT LAKES INDIAN ART, Representational and Symbolic Forms inGreat Lakes-Area Wooden Sculpture, Evan M. Maurer writes of two bowlsin the collection of the Detroit Institute of Arts that share similar lobedfeatures and cutouts (Figs. 5 & 6). Also from the Great Lakes region, alarge belt cup or scoop (Fig. 7) illustrates the Manitou’s eye within adynamic form of dramatic scale.

A recently discovered ash burl bowl (Fig. 8) from the Ojibwa has a ser-rated or notched border along the handled ends, which appears to rep-resent the spiky backside of the Manitou. Ancient Ojibwa rock draw-ings (Figs. 9 and 10) illustrate horned serpents with spiked bodies sim-ilar to the carving of this bowl. An Eastern Great Lakes ladle (Fig. 11)also exhibits this heavily gouge carved characteristic on the handle.

It is likely that the prototypical Iroquoian double open-handled bowlwith squared-off castellated ends (Fig. 12) is a simplified modificationof the more complex double-handled bowl seen in Figure 1—the han-dles cut solely for utilitarian performance versus the dual purpose ofmythological inspiration and function.

Obj. 28: Ojibwa Double Handled Ash Burl BowlCirca: 1840Size: 13 3/8" L x 11 1/2" W x 5" H

Provenance: Alan Clairman, Toronto, ONT;Gardner Galleries, London, ONT (found on alocal house call in eastern London, ONT).

Fig. 11. Great Lakes Abstract Effigy LadleCirca: 1840Size: 8 7/8" OAL

Collection: Powers

Fig. 10. Ojibwa Pictograph, Agawa Rock, ONT

Fig. 9. Ojibwa Pictograph, Darky Lake, ONT

Fig. 8. Great Lakes Ash Burl Effigy BowlCirca: 1840Size: 13 3/8" L x 11 1/2" W x 5" H

Collection: Powers

Fig. 7. Great Lakes Effigy ScoopCirca: 1800Size: 8" OAL

Collection: Private

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Obj. 29: WIRE CLOTH Price SheetCirca: 1920Size: 12 1/4" x 8"

There is something quietly compelling about this seemingly mundaneoffice artifact—the table layout and number progressions reminds oneof the beautiful work of Charles Benefiel.

STEVEN S. POWERS • 360 Court Street #28, Brooklyn, NY 11231 • !p" 718.625.1715 / !c" 917.518.0809email: steve@stevenspowers.com • web: stevenspowers.com