MAN • BEAST • SPIRIT • WOMAN

MAN 

BEAST 

S P I R I T 

W O M A N 

ANTIQUES IN MANCHESTER 2016

S T E V E N S . P O W E R S 

MAN 

BEAST 

S P I R I T 

W O M A N 

Exceptional Folk Art & Americana assembled for exhibition and sale at 

Antiques In Manchester: The Collector's Fair. Featuring works from The 

Marvill Collection and Americana from an important Midwestern Collection. 

August 10-11, 2016. 

Sullivan Arena • St. Anselm College • Manchester, NH 

100 St. Anselm Dr, Manchester, NH 03102 

additional show information: antiquesinmanchester.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

(previous and right) Men of the Pale Forest 

Brownstone 

Likely OH or PA origin 

Circa: 1890-1910 

Size: 8 1/2" (l) x 5" (w) x 6 1/2" (h) 

Provenance: Marvill Collection 

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. 

Though authorship of this carving is undetermined, it has stylistic and thematic similarities to a 

small group of wood carvings that are also quite dark and sexualized. While, I am not making an 

attribution, it is worth exploring as a hypothesis. 

The artist of these aforementioned wood and polychrome carvings is also unknown, but it is 

believed that one artist created the group. The most well known of this group is entitled, “The 

Exorcism” (American Vernacular, page 178). The other known carvings are, “Prostitutes and 

Their Tricks,” and “It’s A Shame To Take The Money” (Sotheby’s, American Beauty: The 

American Folk Art Collection of Stephen and Petra Levin, Part I, lots 1407, 1409). If taken as a 

group (including the sculpture herein), the underlying theme revolves around sin and/or 

sexuality—on a progress bar they go from parlor humor to dark fetish. 

Aside from the overlapping themes, a number of stylistic similarities between the wood carvings 

and the stone carving can be noted. The first is body type—each figure is somewhat stocky, yet 

pillowy—with soft edges, not angular features. Their hands, eyes and hair are rendered alike 

(given the incidental variances that would occur between carving in stone and wood). Another is 

the way the artist executed the junction between the mouth and tree of the standing figure of the 

stone sculpture and the mouths between the kisses on the “Prostitutes” figures. The bases of 

each carving follows an irregular contour and not a proper rectangle, which is unusual and maybe 

telling of a relationship between the wood carvings and this most compelling stone sculpture. 

While this brownstone sculpture was conceived as a utilitarian object, a match strike, and the 

wood carvings are non-utilitarian art pieces, it reads just as much as a stand alone sculpture as 

the others. 

Additional research, insight and discussion is needed. In the meantime it stands strong and 

enigmatic on its own.

African-American Limberjack 

Carved wood, polychrome, mother-of-pearl, animal hair, iron, springs, linen 

Buffalo, NY 

Circa: 1860 

Size: 16" (l) x 17 1/2" (h) 


Illustrated and discussed in American Primitive, chapter plate for “Articulated 

Figures,” page 132, fig. 180. 

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. 

Its spring arms and jangly legs are animated by stepping up and down on the 

re-purposed iron band—as one would use a kick drum to keep time and rhythm. 

Dancing dolls or jig dolls have been used by street musicians and entertainers 

since at least the 16th century. During the 19th century, in America, the figures 

became a cottage craft and often depicted African-Americans as minstrel figures 

(in the exploitive genre). This figure escapes that ugly prejudice and presents a 

deeply personal and cultural work of art. 

The figure originated from, or around, Buffalo, NY. Buffalo is part of the Niagara 

Frontier and had long been a destination of free blacks. The first African-American 

settler arrived in 1792. By the mid 1800’s it had the 10th largest population 

of African-Americans and later became a stop along the Underground Railroad.

The Laundress 

Carved wood, polychrome, aluminum foil 

Circa: 1920 

Size: 14" (l) x 8 5/8" (h) 

Provenance: Hammer & Hammer; Marna 

Anderson; Marvill Collection 

Illustrated and discussed in American Primitive, 

page 67, fig. 85. 

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. 

“The Laundress” is a unique expression of 

American folk art. She is indelible. When asked, 

“what objects do you most remember from the 

groundbreaking publication, American Primitive,” 

collectors often remark, “that towel woman!”

The Chambermaid 

Carved wood, polychrome 

Circa: 1920 

Size: 23" (h) 


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.

Grizzly Bear 

Carved wood 

Iowa 

Circa: 1875 

Size: 10 7/8” (l) x 6 5/8” (w) x 6” (h) 

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.

(below) Dr. Gall Phrenology Burl Snuff Box 

Amboyna burl 

Circa: 1820 

Size: 3 1/4" (d) x 3/4" (h) 

A desirable, well defined Dr. Gall 

phrenology French pressed burl snuff box. 

Three skulls are depicted which are divided 

into twenty-seven numbered sections. The 

backside acts as a key and lists the 

corresponding twenty-seven emotions. 

Phrenology is a branch of pseudoscience in 

which the morphology of the skull is 

studied. Phrenologists believed the size and 

shape of the skull to be indicative of various 

emotional and character traits and of 

mental abilities. Dr. Franz Joseph Gall 

(1758-1828) is considered to be the founder 

of phrenology. 

(right) George Washington Phrenology Bust Inkwell 

Glass, iron 

Circa: 1860 

Size: 7" (l) x 7" (d) x 7" (h) 

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. 

I have seen two others of this Washington inkwell in 

milk glass, but none in clear.

Emily Hanson (1840-1898) 

Spirit Drawing 

graphite on paperboard 

Circa: 1870 

Size: 28" (l) x 22" (h) 

A large-scale obsessive graphite drawing “Executed through spirit power, Miss Emily Hanson, instrument. 

Cumberland Mills, Maine.” Though (manipulated) spirit photographs are known, very few “spirit drawings” 

exist. Many of the tightly rendered florals have random faces hidden within. Also in the right center bottom, a 

village with houses and a park is illustrated. In addition to the drawing by Hanson, the whole surface is 

stippled on top of the drawing. The choice of flowers likely held meaning to Hanson, as there were books at 

the time that discussed the “language of flowers.” 

Spiritualism is a belief that spirits of the dead have both the ability and the interest to communicate with the 

living. Spiritualism developed and reached its peak in the mid-late 19th century.

The Marshalltown Menagerie (ninety-plus carvings) 

Marshalltown, Iowa 

Carved wood, polychrome, thorns, leaves. 

Circa: 1930 

Average size of animal: +/- 4" (l) x +/- 2 1/2" (h) 

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. 

While most are carved from a single block of wood and then painted, some are 

finished with rose thorns, cactus thorns, sawdust, and vegetable fibers to add 

Spotted Hyena 



Circa: 1930 

Size: 5 1/8" (l) x 2 1/2" (h)

additional detail. With 

the scale and number 

of carvings, one may 

think of the Noah’s 

Ark carvings from the 

late 19th and early 

20th centuries that 

were mass 

produced through a 

cottage industry— 

these are not those— 

each animal has a 

personality. 

Polar Bear 



Circa: 1930 

Size: 5 1/8" (l) x 3" (h) 

From the polar bear 

with its lifted leg and 

“Pete the Pup” like 

black circled eyes; the 

beautifully posed and 

mottled spotted hyena; a Mongolian sheep with brown 

painted “wool,” achieved with applied sawdust and glue; to 

the dynamic 

seahorse with an elegant coiled tail, big doughy eyes and tens 

of applied spiky cactus thorns. There are groups of animals 

with horns and tusks, a group of dinosaurs, fish, and birds— 

all unique creations. 

One of the wildest carvings is a large sea creature (possibly 

the Loch Ness Monster given the circa 1930’s creation of these 

carvings). It has large orange fins and scalloped fins along its 

lanky back, and holds a smaller animal in its toothy jaws. 

The most complex of the carvings is a circus cart, which is 

composed of many elements. The fancifully painted cage on

the back of the cart 

contains a wild, spotted 

beast. Atop the 

cart sits a hurdygurdy 

monkey and a 

colorful slithering 

snake. A man sits at 

the reigns and ushers 

two giraffes who pull 

the wagon. 

The collection is 

offered as a group 

and will be displayed 

as such on a wall 

mounted zig-zagged 

ramp with all of the 

animals marching up 

to the circus cart. 

Mongolian Sheep(?) 


Carved wood, polychrome, 

sawdust. glue 

Circa: 1930 

Size: 3 7/8" (l) x 3" (w) 

Seahorse 


Carved wood, polychrome, cactus thorns 

Circa: 1930 

Size: 2 3/4" (l) x 6" (h)

Pulp Fiction: A Little Diddy About “Boots” and Evelyn 

Carved wood, polychrome, paper, ink, photograph 

York, PA 

Circa: 1925-1932 

Size: 16" (oah) 

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. 

The gun, realistically carved by Eyler is a Colt 45, 

model 1911 and is signed and dated, 1925, under the 

grips. The figure, also carved by Eyler, is a portrait of a 

twenty year old Evelyn dated 1932. She stands 

classically posed and confident while “Boots” carves 

her in all her glory. 

The photograph dated to the same year of the carving 

shows the young lovers laying on a flat rock—they were 

married the next year.

Ojibwa Mide'wiwin Figures 

Cottonwood, pigment 

Circa: 1840 

Size: 6" (oah) 

Provenance: W. E. Channing; Marvill Collection 

Related examples: Logan Museum of Anthropology, Albert Green 

Heath Collection, Beloit, WI, pair of like figures; The American 

Museum of Natural History, 50 / 5695 N, small female form medicine 

figure. 

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.” 

Eve 

Walter Tinna (Oswego, NY) 

Carved wood and polychrome 

Circa: 1940-50 

Size: 21 1/2" (h)

Eastern Great Lakes Woodlands (Iroquois) Ash Burl Bowl 

Ash burl 

Circa: 1800 

Size: 13 1/2" (l) x 12 1/8" (w) x 6 1/4" (h) 

Provenance: Private Midwestern Collection 

An exceptional example of a compact, well proportioned 

double handled Woodlands bowl. 

The bowl maintains a beautiful, nutty brown, surface and 

patina—burnished on the high-points and handles. The 

handles are masterfully resolved with smooth chamfered 

edges. 

Choice!

Klimt’s Kan Kollage 

Tin can lids, nails, brass tacks, wood tabletop 

Circa: 1930 

Size: 23" (l) x 31" (h) 

An assemblage of various tin can lids composed in 

an overlapping pattern, each meticulously nailed 

around the perimeter—like numbers on a clock 

face. 

The whole is reminiscent of Klimt’s work with 

silver and gold foils and reads as a macro-detail of 

some of his paintings. 

Framed and displayed as a painting. 

detail of Gustav Klimt’s 

Portrait Of Adele Bloch-Bauer I, 1907

(left) Deep Dentil Molded 

Cupboard 

New England 

Pine, butternut(?), red paint 

Circa: 1780 

Size: 24 5/8" (l) x 14 3/4" (w) x 

26 3/8" (h) 

Provenance: Private Midwestern 

Collection 

A bold and superb 18th century 

open display cupboard. First rate 

surface and condition. 

Rare New England Platform Lantern 

Pine, tin, glass, hinges 

Circa: 1780 

Size: 7 1/2" (l) x 8 1/4" (w) x 20" (h) 


A remarkable, early American lighting device with a large 

conical, pierced tin chimney. The rabbet joined glazed box sits 

on extended legs which gives the whole a dramatic lift.

Unique Large Tiger Maple Charger / Circa: 1740 / Size: 14 1/4" (l) x 13 3/4" (w) x 2" (h) / Private Midwestern Collection

Exceptional Large Chestnut Charger / Circa: 1740 / Size: 14 3/4" (l) x 14 1/8" (w) x 2 1/4" (h) / Private Midwestern Collection

Folk Art Wantage Rod - Ezekiel Maxson (1789-1870) 

Hopkinton, RI 

Carved hickory 

Circa: 1823 

Size: 43 3/4" (oal) 

This is a neat piece! For the lover of instruments, 

brewery or vintner antiques...a wantage rod (gauge to 

determine volume within a cask or barrel). The 

hickory rod is inscribed with marks for BEER and 

WINE and with an elaborate conversion chart. The 

owner's name EZEKIAL MAXSON and DATE: 1823 

are also deeply inscribed. 

Maxson (1789-1870) turns up in census records for 

Hopkinton, RI and also served in the War of 1812. 

Dated 1769 Miniature Bootjack Chest with 

Reeded Edge 

Pine, paint, metal 

Circa: 1769 

Size: 14 1/8" (l) x 5 7/8" (w) x 7 3/4" (h) 


A very fine miniature six board chest 

with an applied reeded molding and 

nicely formed bootjack ends. The two 

interior till covers date the piece in large 

separate numerals “6” “9.” 

Maintains original paint and surface. 

Original brass tip, pinned in place.

Knockers 

Brass 

Circa: 1900 

Size: 6" (d) x 4" (h) 

Large Coco de Mer 

Circa: late 19thC 

Size: 10" x 13" 

First rate example with a 

nice "thigh gap."

The Virgin of Sorrows 

Carved mahogany 

Circa: 16th-17thC 

Size: 13 3/4" (h) x 12 1/8" (w) 

An early Mexican panel carved in the 

transitional Indian-Christian (Aztec) or 

Tequitqui to Spanish Colonial period.

Eastern Great Lakes Woodlands (Iroquois) Ash Burl 

Bowl 

Ash burl 

Circa: 1700 (or earlier) 

Size: 13 1/2" (l) x 12 1/8" (w) x 6 1/4" (h) 

Provenance: Trotta-Bono, Peter Brams 

This Woodlands bowl has had its’ battle with the 

elements over time—however, it remains an 

evocative object. 

The large, sweeping, demilune cutout handle is 

diagnostic of early bowls and represents an eye of a 

manitou. 

The aged surface maintains a dry, complex patina.

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. 

Archivally framed to be hung with 

either side displayed. 

Ray Johnson (1927-1995) 

Ear Diary, By Monte Zuma 

Silkscreen on paper, marker 

1993 

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

Provenance: Steven Wolf Fine Art, San Francisco,

CA. 

Side 2

Steven Powers (1968 -) 

Woodlands (Looking Into The Middle Distance) 

Oil on panel 

2016 

Size: 9" (h) x 12" (w)

Steven Powers (1968 -) 

Woodlands II (Looking Into The Middle Distance) 

Oil on panel 

2016 

Size: 11" (h) x 14" (w)

Bull Durham 

Cooperstown, NY 


Circa: 1920 

Size: 17" (l) x 12" (h) 

Large scale folk art carving with an extraordinary 

paint surface. Created by a shell-shocked WWI 

veteran, who found therapy in carving.

S T E V E N S . P O W E R S 

ANTIQUES IN MANCHESTER 2016 

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

MAN • BEAST • SPIRIT • WOMAN

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