About shadflyguy

Owner/ operator of Shadfly Antiques, and resident antique at Collectivator.com.

Finding Lajeunesse

shadflyguy

“Chien Mechant”

You know how sometimes when you meet a person you feel a real connection to their inner spirit, and recognize in them something which represents basic goodness and beauty?  Something rare and special.  Well that’s the way I feel about having met Henri Lajeunesse, and I am grateful for having had the experience.

Over the ten plus years of regular buying trips to Quebec we would very occasionally run across a signed work of Mr. Lajeunesse,  and we began to covet them and seek them out because we really connected with his expressiveness and vision.  Although we asked everyone we knew, we could never find out much about him. Not in books or from other collectors. Then one day we bought the piece above, “Chien Mechant” or “mean dog” as it was titled in pencil along the base. I say “was” because unfortunately one day an overzealous housekeeper…

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Roger Raymond, Quebec carver of cigar store Indians

Jeanine’s brother and his wife arrive from France later today, and in our typical procrastinate until a couple of days before and then work like hell to try to clean the whole house style, we are still at it. Almost there, but still at it, so I have decided to reblog one of my earlier posts in the hope that if you haven’t read it, you will enjoy it; and if you have read it, you may have forgotten it anyway. Thank you for your patience.

shadflyguy

rr3By the mid 1980’s along with our antique business, we supplemented our income by  setting up a mail order business selling the carvings of Pierre and Claire Trudel, who we discovered had a workshop of about a dozen talented woodworkers making several lines of reproduction antique furniture, as well as copies of various decoys, and other Quebec folk art.  An average duck decoy would sell unfinished for about $15, and we would sell them finished for about $45. This commercial operation also carried a cigar store Indian which I knew was carved by a nearby artist.  I would come by every other week and buy about 50 or so carvings, including 4 or 5 Indians.

One day when I arrived Pierre said, “well I’m just going now to pick up the Indians, would you like to come along.”  “Well, of course I would”, and so off we went a few…

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Fond Memories of attending the Aberfoyle Fall Antique Show with my Beau-Frere

It’s a beautiful last day of summer here in Port Dover with sunny skies and a temperature rising to 30 degrees this afternoon; and tomorrow being the first full day of fall promises to be the same.  A perfect day to attend the Aberfoyle Fall Antique show.  The last big out door show of the season.  Aberfoyle, near Guelph Ontario has been going for over 55 years as a Sunday market hosting 100+ quality dealers selling collectibles, folk art, furniture, and more. It is open every Sunday from the end of April to the end of October. Their spring and fall Saturday Special Shows welcome an added 90+ dealers to the market.  It runs from 8 a.m. until 4 p.m. and like any  show if you want a swing at the good stuff you’ve got to be there early.

I did the spring and fall shows for years and always looked forward to strong sales, and an opportunity to buy some great items.  As a dealer you could arrive as early as you want, with many arriving the night before and camping over.  Being just a little over an hour’s drive from our place I always preferred the comfort of my own bed, but I would set the alarm at 4 and make sure I was on the field and unloaded by 6 am. This not only to catch the early dealer sales as the sun rises, but also to be there to follow the trucks as they come in.  There’s nothing quite like the thrill of sipping on a coffee in the last moments of darkness before sunrise, and shining your flash light on to a big, tied down load of antiques as it rolls slowly by you on its way to its spot.  If you see something you like you shout out for a price from the dealer who inevitably has his window rolled down in expectation.  “Just picked it in the valley.  She’s right as rain, and it’s yours for $300.”  O.K. it’s sold, and I’ll be by later to pick it up and pay you.  Many pieces were sold this way so you had to be on your toes.

In the year 2000 Jeanine’s brother Gerard, and his wife came to visit us for three weeks in the fall. A retired engineer, Gerard dabbles in buying and selling antiques and has become a dedicated collector of French Dinky toys. When we are in France we go to the shows together and he is basically a jump on board kind of guy, so I asked him if he wanted to get up at four in the morning and go with me to participate in the Aberfoyle fall show.  No question. You bet. So on Friday we loaded the truck, made our lunches and went to bed at nine.  Four a.m. Grab a coffee, get in the truck and we are off.

Gerard pulling off the “little helper” photo trick

Gerard at times can be a serious guy, and generally he is a quiet, intelligent and thoughtful sort, but on a run like this he is a riot.  Light-hearted, mischievous, and a lot of fun.  I always see a bit of Bill Murray in him in spite of the different cultural backgrounds.  He likes to claim that his English is “pretty good” but in fact his English is about like my Spanish, almost nonexistent.   On this morning it didn’t stop him from approaching everyone in his Broken English and applying a hilarious attempt at a sales pitch.  “Yes, look here this beautiful dresser back.  It’s lovely for you, no?  etc.  You get the idea.  Some people would really lighten up and get into it when they realized he was a visiting Frenchman, and some would look helplessly over at me with a “what is going on?” sort of glance.  We were a good team actually.  When things got busy he started to complete sales after asking me if an offer was acceptable.  We had a sort of good cop, bad cop thing happening.  “she’s a nice lady boss, can’t she have it for $100.” He pretended I was the boss and he worked for me. He really fell into the part. The day passed quickly.  When the  afternoon lull came Gerard took off to comb the field for dinky toys.  Although he found several, I think he only found one or two from France and I don’t think he bought either, having better examples at home.

me, at Aberfoyle on that sunny day in 2000

As four in the afternoon rolled around and we loaded up the van to go home, as it is with all the outdoor shows a full, long day in the sun takes it tole, and we were a couple of pretty exhausted campers.  But the thing I remember is that we were happy.  It’s funny how seeing an event through foreign eyes can make it new and exciting again.  It was like that, and it will remain in my memory as a very happy and special day together with my beau-frere.

This hits my consciousness today because I recently had a friend recover a lot of old photographs from a crashed computer and there amongst them were the pictures of Gerard’s last visit here in the year 2000.  Topping that is the fact that he is arriving with his wife next Friday for another three week visit.  It’s too bad it’s one week too late to go the Aberfoyle show together to look for Dinky toys, but I’m sure we’ll have lots of other kinds of fun.

Gerard, ready and willing to serve you.

This is all – the work of Steve Sutch

We first encountered the works of Steve Sutch in the late 1980’s at the tobacco museum in Delhi, Ontario.  It came as a total surprise.  Although we lived nearby we had never visited the museum as we were busy setting up house, and when we finally got to it one sunny summer afternoon we were amazed to find a large display of delightful carved/constructed work by this self-taught local artist. It was a show/sale and sadly for us, most of the pieces had already been bought.  It was easy to see why considering the quality and charm of the pieces presented, all at relatively low prices.  We bought everything that was left.

His sense of humour and invention was evident in all of the works presented, but the show did not include any drawings.  Over the next few years we occasionally ran across another construction, but it wasn’t until 1995 when we bought Barbara Brown’s collection that we were delighted to discover a package of about thirty Steve Sutch drawings. His constructions, and occasional piece of original furniture are good, but his drawings are amazing.

Steve Sutch’s Hungarian parents emigrated to Canada in 1905, and homesteaded in Saskatchewan where Steve was born in 1907, near Regina. He also homesteaded in that province, near Spiritwood, where he made a living working in logging camps and sawmills.

In 1937 he moved to Ontario, eventually settling down in Brantford where he remained until his death in 1992. He found employment in various areas of industry and agriculture, working on the railroad, factories, and tobacco fields. It is only after he retired from his very laborious life, raising two sons and three daughters, that he took up carving and drawing.

table designed and made by Steve Sutch

As stated, Steve Sutch did not limit himself to the carving and painting of wood. Most of his sculptures incorporate some mixed media feature, such as clothes made of actual pieces of fabric, and yarn used for hair. His pieces are constructed as much as carved. In his last few years Steve Sutch concentrated more on his drawings, which are mostly crayon and markers on the back of cereal boxes, or any scrap of paper or cardboard available. It is in the drawings that he let his imagination run wild, very often writing captions to explain the contents. These captions, if she judged too daring, were erased by his wife. She missed a few. 

We framed and took the drawings we bought from Barbara to the April Bowmanville show, and the following January to the Outsider Art Fair in New York. They sold like hot cakes and were bought by many serious collectors.  This confirmed our belief that Sutch was a top drawer artist of the cartoon persuasion.  His drawings are edgy, sometimes outrageous and even at times profound. They all contain humour and insight.  A lot of them deal with fate, and the food chain. “Make all chicken’s happy, eat pork” etc.  In the May/June 1992c edition of the Upper Canadian, folk art collector and scholar Michael J Hennigan wrote an excellent and insightful four page essay on Sutch’s drawings. If I can gain permission to do so,I will post it here in a future blog. 

Steve Sutch’s work demonstrates a very strongly individualistic interpretation of a full life’s experience; a commentary on relevant current events (such as portraits of political figures), as well as imaginative tellings of fantastic and sometimes wicked or naughty stories. Steve Sutch approached his work with a great sense of humour which permeates every piece.  I will close by reproducing a short autobiography written in his own hand which Barbara Brown had the insight to ask him to produce in 1989, shortly before his death in 1992.    As Steve says there, “This is all.”

The discovered drawings of Maggie Lounsbury

In the fall of 2011 I paid a visit to friends Kim and Dan Davies of Tattered and Torn Antiques.  Over coffee Kim mentioned that she had just procured something that I might like to see.  Why of course I would. So she brought out a worn and falling apart old Nature study portfolio which contained many drawings, and poems along with some mementos such as old Christmas cards.  It only took flipping through a few pages to see that this was a very interesting collection of folk art drawings from the 1st quarter of the 20th Century, and so I didn’t play coy by appearing disinterested (we’ve known each other far too long for that) and came right out and asked her “ Well, before I fall further in love with this thing you’ve got to tell me if you might be willing to sell it.” “Oh sure, I am.  I figured it was your type of thing so you might as well have it.”  She quoted a reasonable price.  I said yes without even looking further, and so I went happily ahead to discover what a treasure I had just purchased.  Co-operation between dealers can be a wonderful thing. 

Turning the pages I was as happy as a six year old opening his Christmas presents.  Each page offered  clues as to the identity and story of its creator.  Here is how I described it when I offered the works at the 2012 Bowmanville Spring Folk Art and Antiques show.

“ The drawings presented here are taken from the scrap book of Miss Maggie J. Lounsbury, who lived near Warner, in the Niagara Peninsula on the banks of the Chippewa River.  Along with the drawings, the book contains poetry, most of which was printed using rubber stamp letters, and some mementos such as Christmas cards.  Also, a little, bound book entitled “The swim in the Chippewa” by Maggie J Lounsbury, and dedicated in loving memory of little Judson Erskine Lounsbury, whom we assume was related, and drowned in the Chippewa sometime around the turn of the century.  Newspaper clippings and one dated drawing imply that the book was created in the first quarter of the 20th Century, but we believe the ink drawings used as illustrations in small book are older, and were created by a different hand, and were chosen by Lounsbury to illustrate her poem.  There is nothing in the book to attribute these earlier works, but three of the original drawings from the book were mounted in the portfolio so we speculate that it may have been a relative.  Because the binding of the book was in such a sorry state, we decided to separate and offer the individual works properly framed and mounted on acid free paper.”

We separated about 50 of the best drawings and had them mounted and matted, and sold the bulk of them at the show, and then a bit later I sold the rest of the book including the small booklet “The Swim in the Chippewa” to a local historian.  Given the time and the money, it would have been great to restore and keep it all together, but the fact is that it was a scrap book, and so was never intended to hold together as whole, and of course the economics of selling off the individual drawings is much more interesting.  I could not bring myself to break apart an antique book of drawings in good condition, but this was not the case here. 

The poetry which is rubber stamped across many pages of the book seems almost to be a flow of consciousness.  It is quite hard to follow, and there are no personal notes or labeling of the drawings so it is hard to pin down the details, but when you spend enough time with the material you get a strong sense of the Maggie Lounsbury’s personality and sensibilities.  Obviously a creative and sensitive young woman, she has had a great tragedy occur very near her, and  amongst her sunnier observations of flower gardens and children’s games, there are also images of cemetery’s, and angels, and ominous black snakes.  Ultimately, the little booklet is very revealing.  It is basically a ten page poem called “The Swim” in which Little Jack has trouble persuading anyone to go swimming with him in the Chippewa.  Eventually his mother takes him and he very happily goes swimming until suddenly he is aware of several big black snakes swimming towards him.  He rushes to the shore and escapes, and he and his mother go home.  A happy ending.  However the booklet is accompanied by 1912 newspaper clippings of the unfortunate drowning of little Erskine Lounsbury, the boy the booklet is dedicated to.  I will end by reprinting Maggie’s poem which begins the book.

“The Chippewa, with it’s traditional wolf, Indian, robber, esteemed by the little folk who roamed the lovely banks – the hunting par excellence. The enemy,  of equal beauty and hideousness , mottled gray, they speedily captured, dragged, wounded and fighting, out of their pretty waters. Away from the dreams they had so labouriously and painstakingly builded, where silvery fish kicked and swimming holes beckoned, across which old Bob White called, whip-poor-wills uttered their plaintive cry: tragedy, lurking silent and grim just where it was deepest – the beautiful Chippewa. “

 

A World populated with animals – The work of Wilfred Richard and his family sculptors

Damase and family in front of their house about 1910

Bernard Genest’s  excellent 109 page booklet on the four generations of the Richard family carvers, published in 1986 by the Museum of Civilization begins with a quote from the French poet Alphonse de Lamartine -“Inanimate objects do you have a soul which attaches itself to our soul and forces it to love”.  A quote which applies in spades to the work of the Richard family.

a bear by Damase Richard,

The Richard family has lived in Quebec since Pierre Richard arrived from France in 1670. Six generations later Damase Richard was born in 1852.  Although he lived on a farm, Damase was not interested in farming.  He was interested in art, so as a young man he left home to seek work as an artist.  His natural talents landed him a job painting carriages, first in Quebec city and then in the U.S., and eventually in Montreal. Then he got a job with a furniture manufacturer carving and painting decorations on the finer pieces of furniture.  It was during this time, about 1871, that he met and was influenced by master carver, Louis Jobin.  He continued for about ten years before buying a piece of  wooded land near Saint-Ubalde de Portneuf. It was ten years before he had cleared the land and built a house.  At 39, in 1891 he married Elmire Frenette, and they went on to produce seven children.  As stated, Damase was not a farmer by nature so when his oldest son Wilfred became twelve he passed much of the responsibly of the day to day farm work on to Wilfred and he began to sculpt seriously.  He started with pipes, sugar molds, ashtrays and other small items that he could sell easily.  One of his sculpted pipes would sell for 60 cents, about ten cents more than a regular one.  He did not often repeat a pattern, preferring to invent designs.  He also produced toys for the children, and crucifixes and other religious articles for family members.

He used very few tools. Three gouges, two pocket knives, a plane and an axe.  He was very talented and precise. After a while he became interested in sculpting the animals and birds he saw around him.  He not only carved them, but unheard of at the time, painted them in polychrome colours. At this time there really wasn’t a market for these pieces, but he continued to produce them to satisfy his creative urge.  Of course as is often the case, nowadays  these are his most sought after and valuable pieces.  He was prolific and carried on until his  death at the age of seventy in 1922.

Of Damase’s seven children, three became carvers. Wilfred, Alfred and Joseph all carved animals and birds as their father had before them, but only Wilfred sold his work. Although he was smart, and quick to learn Wilfred only got about five years of schooling due to his family obligation. But he seemed to readily accept this destiny, and thereafter rarely left the family property.

horse by Wilfred Richard

Like his father, Wilfred showed a natural affinity to carving.  He became his father’s apprentice at an early age and was soon producing work alongside his father during the long winter months when he was not busy with farm work. He stated that he was never really interested in commercializing his work, and would actually discourage people from coming to buy.“Me. I’m not proud. When the pride was passed out I was not there. I’ll say one thing though that pride in the work has a good place. I have always been proud of this. but to dress me up fancy, to go to a formal service, or that kind of business,  I would go dressed as I am now. It would do me nothing, absolutely nothing. I’m like that. “

owl by Wilfred Richard

Wilfred married Marie Darveau, and they lived their lives together in the home Damase had built. They had fifteen children, but only six survived, and of these six, three have become carvers – Marie Jeanne, Fernand, and Maurice.  Marie Jeanne married Lucien Lavallee, and they produced two sons, Paul-Emile and Dominique who also became carvers, and carry on the tradition to this day.

Wilfred Richard was born in 1894 and he died in 1996.

Wilfred Richard in his kitchen

The graphic appeal of old games boards

Quebec game board, 2nd quarter, 20th cent. offered by Martin Osler on the Collectivator site

The board game called “Checkers” in North America and “Draughts” (pronounced as “drafts”) in Europe is one of the oldest games known to man. The history of checkers can be traced to the very cradle of civilization, where vestiges of the earliest form of the game was unearthed in an archeological dig in the ancient city of Ur in southern Mesopotamia, which is now modern day Iraq.

Draughts (British English), or checkers (American English) is a group of strategy board games for two players which involve diagonal moves of uniform game pieces and mandatory captures by jumping over opponent pieces.

Octagonal sided game board, late 19th cent.,Waterloo, Ontario, offered by Wendy Hamilton on the Collectivator site.

The most popular forms are English draughts, also called American checkers, is played on an 8×8 checkerboard; Russian draughts, also played on an 8×8; and international draughts, played on a 10×10 board. There are many other variants played on 8×8 and 12×12 boards. Canadian checkers and Singaporean/Malaysian checkers (also locally known as dum) are played on a 12×12 board.  I have found that what is referred to as Canadian checkers, might better be called Quebec, or French Canadian checkers, because after years of buying and selling both 8, 10 and 12 square variations of the board, I have found that it is pretty much accepted that if a board has 12 squares across it is from French Quebec.  With 8 or 10 spaces, it is assumed to be Ontario or other “English” culturally based province.  How did this variation get started? Maybe folks in Quebec just liked a bit longer game.  After all, the winters are cold in Quebec so what’s the rush to get outdoors.

Circa 1820, Lunenburg Cty, Nova Scotia Parcheesi board, illustrated on page 216 of Canadian folk art to 1950, by John A. Fleming, and Micheal J. Rowan.

Chess may be considered the game of kings, but Pachisi is the game of emperors. Long before the American game of Parcheesi was first played in the late 1860s in North America, Pachisi, the Royal Game of India, had made its way around the world.

You won’t find nearly as many parcheesi boards out there, which illustrates that many more people went for the simpler game of checkers, but the boards are particularly sought after for their more complex graphic pattern.  And let’s face it, not a lot of people are buying old game boards to occupy their time on a Friday night.  For the most part, People buy old game boards to put them up on the wall as a graphic focus.  And who can blame them.  A checker board  is  inherently interesting.  We like looking at contrasting squares.   The orderly rows of squares suggest discipline, and harmony.  It’s peaceful and it draws the eye.

Quebec, mid 19th century Parcheesi board, illustrated on page 40 of the Price’s book “Twas ever thus”

I have bought and sold many game boards over the years although we have never added one to our collection.  I’ve found many that attracted me, but I think the reason I am happy to appreciate them and then find them a good home is because we like paintings so much that we want to donate all our wall space to them.  It’s the same reason we don’t collect old advertising.  I love looking at a great old sign, and some of it is as exciting visually  as a good painting, but they rarely turn my crank like a good painting will.  It’s true that some boards and ads do transcend into the realm of fine art, but they are few and far between, and such a thing has never fallen into my hands.

late 19th cent checkers board, Waterloo, Ont, offered by Wendy Hamilton on the Collectivator site.

Unlike most antique furniture or accessories, a game board can fit into many room décors be it traditional, or modern because of it’s graphic nature.   They also look fabulous grouped together.  We have friends with about 14 game boards placed carefully  over a very tall and wide wall in their living room and the overall effect is breath taking.   They are all different, while also being similar in that they all have the graphic checkerboard as the main component.  Some are primitive.  Some refined.  They all say something about who made them.  And of course patina can be a large factor.  The wear on some old game boards can beautifully tell the story of usage and age.  You are struck visually with the pattern, and at the back of your head you can’t help thinking about all the happy hours spent talking and playing the game together by countless individuals over the years.  You think about how when these boards were being used regularly, there were no game boys, television, or U-Tube to occupy your “down” time.  You could read when you wanted to be solitary, or if you wanted to have some entertainment and commute with others you would  find the local checkers or parcheesi game.  Or I suppose if you wanted a bit more of an intellectual work out you may play chess.  You still needed the board.

Because gameboards offer many interesting variations on a similar theme they are a natural and fun thing to collect.  I love looking at them.   If only we had more wall space.

Circa 1880 Quebec Parcheesi board, offer on Collectivator by Croyden House.