About shadflyguy

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

Rene Dandurand – a carver of great humanity

2By the mid-nineties we were doing a lot of business with Quebec collector, Pierre Laplante. He was, at the time a very successful dentist, and determined collector of Quebec antiquity and contemporary folk art.  A very good fellow who we enjoyed meeting up with every few weeks at his country home, where typically after a good meal and a little wine was consumed we would inevitably end up in his converted machine shed, which was stuffed to the walls with wonderful things, so that I might buy some of what he was prepared to let go of.  At the time he was keeping five or six pickers busy full time in an attempt to find him the “all” of the best pieces available.  They would bring in full truck loads and he would usually buy everything to get the best price, and assure their dedication.  He would sell me all the stuff he didn’t want to keep at very reasonable prices, and that kept me coming back. His appetite was voracious and he rarely said no so there was a lot of stuff arriving.  For a couple of years before we both slowed down we did a lot of great business together.

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Rene Dandurand in his workshop

One particular evening he suggested that after dinner, he was particularly excited to show me some new work by a previously unknown carver that he had recently become aware of.  That was the first time I saw the work of Rene Dandurand.  It was different than most other work being produced in Quebec at the time, and although I had to admit to Pierre that it wasn’t purely my style (my taste runs a bit more primitive and less Norman Rockwell) I could see that he had real talent and vision, and I liked that his pieces contained humour and emotion.  Pierre was good enough to give us his address and phone number in nearby Valleyfield.  We called him and he was very welcoming.  We made an appointment to see him the following day.  He was very open and we had a good talk with him and his wife Julienne before they showed us his workshop where we bought five or six pieces. I made several stops at his place on subsequent trips but as he became popular there was less and less to buy.

Rene Dandurand is a highly original Quebecois carver. Born in 1934, he started carving in the late nineties, after early retirement from his employment as a machinist. His first piece was a simple small boot, but this was quickly followed by roosters, birds, and figures. Before long his subjects evolved into more elaborate and complex compositions incorporating figures, foliage and animals to tell a complete story.  As Quebec folklorist Lyle Elder points out in his bio of the artist, “Rene Dandurand carves every aspect of the human condition and always with great humour. There is a joyfulness in his vision of people busy at their lives. His carvings are always evocative, charming and full of colour.  Rene Dandurand is certainly one of Quebec’s most talented artists”.

5 Rene Dandurand’s carvings are worked in one piece from a solid butternut or pine block. Some early works are left bare, showing the grain, but most are painted by his wife Julienne, an excellent colourist, after lengthy consideration of suitable colours. Although Dandurand’s children supplied him with a full set of carving chisels, he prefers the familiarity of his two or three ordinary old knives.4

Dandurand’s carvings are represented in major public and private collections of Canadian folk art. I am uncertain if Rene continues to live in Valleyfield, Quebec.  It was suggested to me a couple of years ago that he had passed away,  but as yet I have been unable to confirm or deny  it.  If anyone knows, please let me know and I will amend this article.  Thanks. 1

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Billy Orr meets Phyllis Kind

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Billy in front of his cabin

Learning of the death of New York art dealer Phyllis Kind a couple of weeks ago got me to thinking about Billy Orr.  I mentioned the exchange in a 2016 blog I wrote on Billy.  Reproduced here:

“When I did the Outsider Art fair in New York City, I brought pictures of Bill’s place, along with many other examples of Canadian folk art, and showed them to the renowned art dealer, Phyllis Kind. She passed over much of what I showed her, but paused and really had a hard look at Billie’s work. She said “This is interesting.  I’d like to know more about this artist.”  When I got home I sent her photos, a bio, etc, and after a couple of weeks she phoned me to  say that she would be interested if Bill would sell all of the work and she could show it as a reconstruction of Bill’s installation. Naturally she was concerned about the cost of moving all that concrete to New York.   I got in touch with Bill but he wasn’t at all interested. I could tell that for him it would be like selling his family.  Still, Phyllis is no slouch when it comes to art, and her interest reaffirmed my belief that Bill Orr was an exceptional individual and artist; and he was a lovely man to boot.”

bil2In retrospect, “no slouch when it comes to art” sounds a bit flippant, when I was meaning to suggest that “no slouch” is an understatement.  I had and have great respect and admiration for her taste and instincts, and her contributions to the world of folk art.  She was also very nice to me when I was a stranger in the midst of the dealers at the Outsider Art Fair in 1996.

I remember seeing Phyllis Kind standing in a group of five or six other heavy- hitting art dealers in front of a Henry Darger painting in the booth of Carl Hammer.  I couldn’t hear what they were saying, but I could tell that something heavy was going down.  She was quite small and slight; in her sixties, wearing blue jeans and a punk rock, sleeveless black t-shirt, and holding her own in whatever they were talking about. I was struck that she had very thin and wrinkly arms, and I respected that she was strong enough and had the self- respect to put them out there. She was the epitome of cool.  She had grace and presence.

Later that day, which was set up day, I was able to finish my work and have time to look at some of the other booths.  I had brought a few dozen photos of work by Canadian folk artists in case there was some interest with the U.S. dealers.  Mostly, there was not.  Some of them were downright rude.   But when I showed them to Phyllis Kind, after talking for an hour or so on various topics, she looked and passed on them all, but stopped when she came to Billy Orr. “Now this is interesting.”

She reacted immediately to the work, but became more interested when she heard Billie’s story and circumstances.  The opening was drawing near so there was no more time to talk but she asked if I could come by her gallery the next day after the show.   How great, I thought.  Of course I will.

I haven’t had that many, but I have great fondness for those moments in my life where I say to myself, “how cool is this” “Here I am going into Phyllis Kind’s Soho gallery in New York city to show her pictures of Billy Orr’s zodiac sculptures.”  I wish Billy were here.

Can you imagine?  I flashed on Billy in his kitchen telling the mother raccoon who had walked through the front door that “she would have to wait for dinner as he had company”, and I imagined Billy standing next to me in the gallery talking to Kind, and I just tried to make note of everything around me, and everything that was said, and going on.  Now twenty-two years on I remember some of it.

bil5.jpgPhyllis was interested in the fact that Billy had created his own “wooden” version of Stonehenge in his back forty, and that he occupied it with many Irish leprechauns, and zodiac figures he had created in cement.  She imagined having all the work in her gallery, in a type of recreation of Billie’s world.  We excitedly talked on about it a bit more, and we agreed that I would look into it when I got home in terms of interest on Billie’s part, and the logistics of getting all that cement to New York.

I could tell that her interest was sincere, but I could also see a lot of reasons why it would probably just remain a lovely thought.  Billy, predictably wasn’t the least bit interested, and of course the cost of getting all those heavy and fragile pieces to New York was prohibitive.  The end.

Still. It is something to behold. Something that will live on in my head.  Billy Orr shuffling up and muttering “hello” to Phyllis Kind at the opening of his solo exhibition in New York.bil6

The Peaceable Kingdom of Gilbert Desrochers

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cover of the 1991 McMichael Canadian Art Collection catalog by John Hartman

As explained by the McMichael Gallery’s Chief Curator, Jean Blodgett in the forward to the catalogue accompanying the 1991 solo exhibition of the works of Gilbert Desrochers, entitled “The Peaceable Kingdom of Gilbert Desrochers” plans for a folk art exhibition had been underway for several years.  He states “folk art seemed eminently suitable for display at the gallery, and an appropriate subject for an institution dedicated to Canadian art.”  He explains that they asked artist John Hartman to guest curate based on his interest and knowledge of folk art.  At first it was planned to be a group exhibit, which was then narrowed down to a few artists, and finally it was decided to focus on the work of one artist, Gilbert Desrocher, whom Hartman had come to know when he was attracted by a sculpture displayed on a fence post he spotted while driving down a back road in Tiny Township on the southern end of Georgian Bay in Ontario. He stopped, and made his acquaintance, and quickly this developed into a strong friendship.  In September of 1990 John took Mr. Blodgett to Gilbert’s house to discuss the dates and arrangements for the exhibit to be held the following year.  It was devastating then when they learned a week later that Mr. Desrochers had died suddenly.

artistGilbert Desrochers was born on May 2, 1926, in Tiny Township.  The fifth child in a family of six boys and one girl. His father Thomas owned a farm on the eighteenth concession, overlooking the bluffs of Thunder Bay Beach. He only attended school for two years when his mother died, and he went to work with his father and brothers on the family farm. “I wasn’t much good in school” he recalled. “I didn’t learn much. I went to school only to smoke. And I slept.  I was always so tired that I fell asleep. I had no notion about school. I had only work in my head. I figured that work was easier than school.”  Our father couldn’t read or write either and said “it’s just as well that you are like me. Come work with me in the woods.” “My father had two hundred sheep, and we took care of them. Also nine cows, three horses, chickens and pigs. In the winter we would cut wood all the time. We didn’t have a power saw so me and Joseph would cut wood all winter. It was a lot of work with cross-cut saws and Swede saws.

In 1941 at fifteen, he and his twelve year old brother Gabe took the money form three cords of wood that they had sold and began walking to the home of their sister Aurore who lived in Toronto. They caught a ride with a group of soldiers and got dropped off near their destination.  Gabe stayed to attend school but Gilbert returned home to cut wood with his father which is what he continued to do until he was twenty five.  Not satisfied with his life he began to wander, returning home only when his money ran out. He would leave and return unannounced, and often no one in the family knew his whereabouts.horse

In 1952 Gilbert was incarcerated at the federal penitentiary in Kingston for stealing a barge. There he worked for a while in the carpentry shop, until he overheard other prisoners saying that they would “get him”. He refused to return to the shop and eventually became uncontrollable and was put into solitary confinement. He had a nervous breakdown and, according to his brother Gabe he was given shock therapy.  His stay in Kingston was two years.   While there that he had his first religious experience, when God appeared to him on the walls.

The day his parole was up he headed north to work in the lumber camps near Kapuskasing.  In 1953 Gilbert’s father died and he became close to his brother Gabe. For the next twenty years he continued to work seasonally in the tobacco fields of southern Ontario, and the bush camps in the North. Occasionally returning to live with Gabe and his wife Lucienne, and to work with Gabe as a roofer.  lizard

In 1975 he was working in Toronto and while looking in the garbage in an alley something struck him from behind. When he turned around no one was there. He concluded it must have been God. After his religious experience in Toronto, Gilbert moved to his brother’s farm near Perkinsfield, where he lived in a small trailer and attended church regularly.

It was here that Gilbert started to carve. He continued to have visions and said that he began making sculpture because God came to him in a dream and told him that he had to make something, then gave him visions of things to make. The dream recurred, and after the third time Gilbert started making carvings.

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Gilbert at home

During the period that he was active, Gilbert created hand carved depictions of the people, animals and events from Christian bible stories. He would often harden the high gloss paint, used to colour and give the necessary details to his sculptures, by heating his workshop, located in the same trailer that he slept, to 120 degrees F. All of his work was created for installation in and around his living space, or on his tractor.

“I promised myself that never would they catch me again to lock me up. That’s why now I’m always alone” he confessed. I’m always watching myself, just in case someone blames me and returns me to jail.  That’s what I think about steady. Never, never do I forget that. I’ll never forget. When I die, why then I figure I’ll be saved. I watch myself because they’ve tried to blame me for all sorts of things and I’ve saved myself every time. That’s why I’m prudent and I’m always in my hymns and I stay close to the good Lord.  It’s a boring life, but I have to live it anyway. That’s why I started to carve all sorts of things, to pass the time and to stay at home.  It’s a sad life but I manage to survive it.”angels

 

The Waterford Antiques Roadshow – You never know what will come through the door

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part of the current pottery exhibit. Photo by Jamie McDougall

For the past two years our local Waterford museum has been lucky to have an ambitious, enthusiastic young curator named James Christison.  James has done a great job.  Currently there is an impressive show of the Pottery of Norfolk and Brant County well worth seeing.   Last year he had the idea to have an “Antiques Roadshow” type fundraiser for the museum, gathering up 12 local “experts” to appraise any item you have been wondering about, coming from the basement or your grannies attic, for a reasonable sum of $5 each.  When asked, I was happy to donate my time to look over the furniture and art.  It helps the museum and you never know what will come through the door.  The event has gone well both years, with about 200 people in attendance each time.  And of course some people bring in 5 or 6 items so it adds up.  It’s a great deal for those who participate, and is also a great way to increase interest in antiques in general.

Naturally, like on the TV show the main pitch is about money.  Everybody is hoping to find out that item that they paid nothing for is now worth (ta da) $40,000.  Take it away Don Pardo.  But of course the reality is a lot of items are simply ordinary,  and have little or no monetary value. This can be disappointing of course but still, with inquisitive people it can happen that as they learn more about an object they develop an interest, and it becomes less about the money, and more about the value of the item in aesthetic and historic terms.  That’s the fun part, really.  Helping people connect and gain enthusiasm for something.  Be it, pottery, Indian artifacts, furniture, or whatever.  Still, the potential for “making big bucks” is the pitch which gets them in there, and that’s fine too.  Witness the head-line of the (front page mind you) article from the local paper.  In bold type “Cashing in on collectibles”.  Smaller type “There could be big value in yard sale finds”.  And the well written article is pretty much about that.  Which I suppose is to be expected these days when in general so much emphasis is placed on commercial value.  But wouldn’t it be great if there was some mention of the joy many people experience knowing more about their item in spite of recognizing that it had no real monetary value.  I’m a dreamer.

paperI was busy right from the get go until about 2:30 when I told the last man in line that yes, I could go out to the parking lot to look at a chess table he had brought in, but right after that I had to go and eat a sandwich, as I was starting to fade.  A lot of what I saw was fairly common turn of the century prints in late Victorian frames which is one of those “let them down easy” moments.  Some ask, “Are you sure it’s not a painting.  I was always told it was a painting”, and so you point out the company name and date written in tiny print right down along the bottom, and that usually convinces them.  You also look at a lot of chairs, I suppose because everybody’s got some kicking around and they are easy to bring in.  Lots of looking at large furniture on cell-phones.  Some of it amazing stuff, but if they are looking to unload it, it’s hard to think of who you might suggest is dealing in massive, walnut Jacques and Hayes sideboards.  Still, you give them what’s called the fair market value, that being the highest value that would be paid between a knowledgeable buyer and seller in a fair and uncontrolled market.  This is the figure you use for insurance purposes.  You then explain that this figure is often higher than you could hope to receive selling it to a dealer.  Dealers needing to make money, and eat, etc.  It’s amazing how many people do not “get” this concept until it’s introduced to them.

But as pleasant it is to pass a day looking at random stuff, it is the occasional exceptional piece that you hope for.  And this year I was not disappointed.  The first thing that quickened my breath was an absolutely mint large 5 point oil lamp candelabra complete with springs to supply adjustable height. It was all there and with an excellent, untouched original gilded finish.  Probably about 1860.  As it happens curator James came along just after I had given it an estimated value of $1,000 and suggested he had recently considered but did not have the budget to purchases a similar but much larger example with 8 points, valued by the seller at $2,500.   The people had recently bought an old house and the lamp was original to the dining room, but they were looking to change the feel of the room so wanted to sell.  I am hopeful that something might get worked out there.   Serendipity is fun.

paperjeremy.jpgShortly after an interesting well-dressed woman showed me a few items on her phone.  When she hit the shot of the early 19th century folk painted door from Nova Scotia I just about wet myself.  Holy Mackerel, talk about hitting all the buttons.  This thing has it all.  Every one of the four panels, front and back is decorated with scenes of ships at sea, forests, and other maritime features, with every molding decorated with geometrics in lovely colours, etc.  You could see the surface was untouched and magnificent.  A stellar piece of museum quality.    I was able to recreate one of those classic “roadshow” moments.  “Well, a normal door of this period would be worth a few hundred dollars, but I would place a fair market value of $15,000 on this door.  Gasps and giggles all around.  She was of course delighted.  I asked her what she paid for it and she told me she paid a lot for it 35 years ago.  The $750 she forked out just about blew her marriage but she felt she had to have it.  She said the husband is long gone.  I told her she was better off with the door.  We laughed and had a good time for a couple of minutes and then it was time to move on.  Her parting comment was that she had not yet found a place for it in her new home but that she was going home to do so, and fetch it out of the basement.

Then a bit later after seeing a lot more nice, but ordinary things a gentleman took out two rather large (16’x24”ish) pastel portraits of two plains Indians.  I called over Jamie McDougall, he Indian artifacts expert, and he too was knocked out by them.  They are signed by the artist A.E. Robillard, and dated 1909.  They are in beautiful, seemingly original dark oak frames. The men are dressed in “white man” cloths but you can see from the fineness of the lines and strong expressions that they were captured beautifully from life.  The elderly gentleman was excited to find out that they were of value and was interested to know more.  He was not on the internet so Jamie got his phone number and offered to get in touch with the OxBow Museum in Saskatchewan for him.  It felt good to know that these amazing and haunting portraits were now being recognized for the treasures that they truly are.

All in all, a very worthwhile day.  I am already looking forward to next year.paperme

My thoughts after attending the fall 2018 Christie Antique and Vintage Show

 

field1“Canada’s favourite antique & vintage show with hundreds of dealers and almost 10 acres of treasures to be discovered. You’ll find china, jewellery, signs, tins, scientific instruments, folk art, postcards, native artifacts, Canadiana, fine art, nostalgia items, furniture and much, MUCH more! Food vendors onsite. Rain or shine. – you’re sure to find something to love!”

This is the way the Ontario Summer Fun Guide describes the Christie show and I think it’s accurate up to a point. You will find all the things listed above on the field.  What they don’t include in the list and I feel should be, is reproductions: and it should be way up the list.  Perhaps number one. The field is rife with them. And as you stand there and watch the crowd you realize how few people notice, or perhaps care for that matter, if they are buying a reproduction or not.

I saw a man ask the vendor as he lifted one of ten identical cast iron string holders, “so this is old, right.  It looks old.” There’s ten of them sir. He bought it. I rest my case.  I’m afraid that sounds elitist but I think it is a fair observation.

field4This is sort of tragic in the way that a lot of what is happening to our society over the last while is tragic.   Fake is as good as real, as long as it makes you feel good about yourself. If it’s cheap and it looks like an expensive thing, who cares?  Well I care, and I think a lot of people care.

In the interest of education, and fairness for goodness sake, I think that show management should insist that every reproduction is a clearly indicated on the tag as “Reproduction”. That’s all. In fact a separate, uniform tag with “Reproduction” in big red letters would be best.  I think it would make a world of difference, and there’s no down side.  Those who don’t care will not begin to do so, those who know it is a repro will no longer be offended, and most importantly those who are in doubt will no longer feel as vulnerable, and will trust the system well enough to go ahead and purchase that item he or she “thinks” is an antique. If we have to accept that reproductions are a big part of our antique and vintage markets today, and I guess we do, then at the very least, label them as such.  I would think that it is easy to make a strong case to the dealers that this is in their interest, and I doubt that it would even result in less sales. There’s still always going to be lots of people happy to buy a reproduction if it does the job for them.

The problem with continuing on the current course is that it eventually cheapens everything, and dumbs us all down to the point that it all becomes meaningless.  On the field you can already feel that for many it is more of a shopping “experience” than it is an actual attempt to acquire an antique or vintage item. I didn’t see that many people actually carrying anything.

field3Still, several dealers did tell me that they did o.k.  I guess they’ve still got their regulars, and if you sell one or two strong items that can make your day. Also, I have to add that overall, people seemed to be having a good time, and there’s nothing wrong with that is there.  It’s a lovely way to spend the day looking at things, eating some junk food (or better. They offer that now), chatting with friends, etc.  But to get back to business, bottom line, if not enough enterprise is exchanged, the vendors will give up on it. As will the people.

If you go back ten years the Christie show was run by Jeff and Wendy Gadsden and there was no reproduction allowed.  They policed it and would ask you to take down any reproduction they found.  In those days the audience demanded this and would complain to the management if they found out they had bought a re-pop. Jeff would go with the offended purchaser and the dealer was confronted.  It could get ugly.  That seems a life- time ago and a world apart. Where has everyone gone who cared about quality and integrity? Wow, now I’m really sounding like a grumpy old man.  But really. What happened?  Did the I-phones and I-pads and the whole inter-whoop business melt all of our brains so quickly and completely. I can see I’m on a roll, so I will stop.

I notice that of my principal interests, folk art is number six on the list, and Canadiana comes in at number nine.  That feels about right in terms of crowd interest.  But it’s hard for those of us who know that for about twenty of the shows thirty years life span, Canadiana was definitely number one. They wouldn’t even let in folk art for the longest time.

Ah well.  Not to despair.  Change comes, and we never know what form it will take, or when.  In the meantime, let’s do our best to keep our interests alive, and support the like-minded people involved as best we can.  And let’s agree to label reproductions as reproductions.  Some dealers would do it voluntarily if they weren’t afraid of losing their shirts.  It’s really up to the show promoters to come up to the plate. I think it would really help this show, and furthermore labeling reproductions as such should be encouraged right across the industry.  field2

Even more on Beardmore Folk Artist Ewald Rentz

yard2Last week I told the story of recently meeting up with Ewald Rentz’ niece Alyss, and I reproduced an article on the artist from the local paper from 1978.  This week I will finish by presenting some more of her observations, and additional photos taken by her of his home and barber shop in Beardmore. I am also going to reproduce an article written by the Thunder Bay Chronicle- Journal on the occasion of his retrospective show at the Thunder Bay Art Gallery in 1993.

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Emma and Ewald on their 60th wedding anniversary

There’s a few nice shots of Ewald’s back yard and shop interior, along with a great shot of Ewald and his wife Emma on the occasion of their 60th wedding anniversary.  When you look carefully at the shots of his barber shop you can see that it was fairly full of his carvings, and a little chaotic.  Alyss pointed out that although his sign indicated $5 for a haircut, $4 for children, it was also well known that if you didn’t have the money he would gladly cut your hair for free.  He had many takers, but he did not mind.

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Rentz performing at his opening

 

Also, at the drop of a hat, if you had time to spare he would also sing you a song or two accompanying himself on mandolin and dancing puppets.  He made these by attaching some of his carved dancers onto recycled bass drum pedals.  He even played for the crowd at the opening of his retrospective in 1993.  I would have loved to have been there for that.  As it happened his son Ernie did ask me if I wanted to go with him to the opening; and I would have loved to, and should have, but it conflicted with an antique show and sale I had committed to.  Also, at the time I was working on curating a show of Ewald’s work for the Royal Ontario Museum in Toronto, and things were looking good, so I hoped to meet him then.   It turns out the show got postponed, and Ewald died two years later so it never came to pass. I never did meet the man.

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barbershop interior

There are many tales of Ewald’s generosity in the community.  He was always ready with a free haircut, or plate of food for anyone in need who came by, and he even carved wooden headstones for those who died up there without relatives or arrangements made for a funeral.  You can see how in much of his work he laboured to uplift people with humour and warmth. He was truly a sweet man.  Here’s the newspaper article from 1993.

Animator of the Inanimate – Everything 84 year old Ewald Rentz of Beardmore carves comes from something he has seen or found in the bush.  Thursday, September 16, 1993

By Bob Hearn – The Chronicle-Journal

At age 64 Ewald Rentz is still a little bemused over being a celebrity in the local art community.

“It’s something new for me,” he said with genuine modesty, and a hint of amusement at having his completed wood carvings on display for public consumption at the Thunder Bay Art gallery.

That’s because the Beardmore bush-worker/prospector/barber/musician/outdoorsman has only been able to add “artist” to his list of titles in the past twenty years. And he never expected his funny wood figures to attract any attention beyond the walls of his Beardmore barbershop.

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1993 Chronicle-Journal article

Rentz made his first wood figure, a bird suspended from the ceiling by a spring which moved up and down and flapped its wings when it was pulled. He made it to soothe children who came into his barbershop for a haircut.

“I still have it in my shop too,” Rentz said. “But I never thought about being an artist before that. Never thought of it at all.  I was just too busy.” Although he’s had no formal training Rentz has managed to perfect his completed art works out of piles of wood in his back workshop. He’s since made tons of elaborate animal and human figures and has attracted the attention of not only paying customers to his shop, but art connoisseurs as well.

In 1983, some of his pieces appeared at the Canadian Museum of Civilization in Hull Quebec. A collection of thirty of Rentz’ most recent pieces are on display now at the Thunder Bay Art Gallery until October 31 in a collection entitled “The completed Work of Ewald Rentz”

It is his second showing in Thunder Bay.  His first professional showing was back here in 1981 at the Thunder Bay National Exhibition Centre.

He’s been described as an animator of the inanimate. Everything he carves comes from something he has seen or found in the bush around his home, whether it is a tree branch, burl, or type of fungus.

“I see something. A figure in the trees or branches and I have to create it, make it come to life,” said Rentz. After carving the figure out, he touches it up with a coat of regular house paint, festooning it with hats, buttons, collars or other old discards he finds around the area. He prefers making animals, but sometimes makes satirical political figures or other people.

The tree form suggests what the figure will be, so if the branch is forked he will make it look like an animal standing on hind legs. Rentz says the outdoors supplies an endless supply of inspiration for his subjects.  Most of his life has been spent working in the bush and he’s even manifested some of his experiences in his art.

It’s the folksy nature, lack of pretense, and perpetual good humour which has made Rentz’s work popular. Tourists from England and Germany have bought his work, and her regularly gets phone calls from all across Canada from people asking him to save a certain figure for them for when they pass through Beardmore.

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barbershop interior

Rentz is pleased but nonplussed by the fuss.  He says living in Beardmore keeps everything in perspective.  “In this town people just say “ah that old guy with the carvings,” he chuckled. “He’s probably a bit off”

Rentz was born in North Dakota and moved to Woodbridge, Manitoba.  He dropped out of school in grade 4 to cut wood and work on the farm. He also attended barber school in Winnipeg before moving his wife and two kids to Beardmore in 1939, to work as a bush-cutter. At 65 he retired but he has kept busy ever since. His artwork takes up only as much time as he wants it to.

“Life is very short and you’ve got to try everything,” he said. “Pretty well everything I’ve touched in my life has worked.  You’ve got to keep active and enjoy things.”

And if his show proves to open the door for future success and fame, Rentz still won’t be tempted to leave Beardmore.

“I wouldn’t live anywhere else,” he said.  “It’s God’s country.  We’ve got fish and moose and beautiful clear water.  What else do you need in life?”

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looking through the front window of the barbershop

More on Beardmore folk artist, Ewald Rentz

moose2I love it when good things fall out of the blue, right into your lap.  It had been a long time since the cosmos had flipped me a lucky card, and I remember thinking about a month ago that perhaps things were quiet because I had been out of the circle for so long (my last show being Bowmanville in 2014) that collectors had basically forgotten about me. It seemed a reasonable assumption, even after 30 years in the business, because it can be a case of what have you done for me lately.  But then two things happened. First,  I had a call from a Montreal folk art collector I have known for years, but had not heard from for at least ten.   He explained that his wife had died recently and it had come time to downsize and disperse the collection.  He has some great things so I am looking forward to starting this process.  Then the following day I got a call from a lovely woman from Thunder Bay named Alyss Rentz.  She was married to Gary Rentz who was Ewald Rentz’ nephew.  I am a huge Rentz fan, and it had been a long time since anyone from the family had contacted me. Alyss explained that her husband had died and she too was downsizing; and she has five pieces by Ewald that she would like to sell.   As it happened she was coming to Hamilton the following week to visit relatives and she could bring the pieces with her.  She described the pieces and after seeing hundreds of Rentz’s over the years I knew from her description that I was interested.  She told me she would call when she arrived in Hamilton.  Great! I was immediately looking forward to it.

alyss

Alyss and the work in Hamilton

Good to her word, Alyss called me a few days later and we set up a time the following day for me to come and see her, and the work.  We had discussed the price and arrived at a figure that worked for both of us.  Sight unseen, but of course I had the option of opting out if they were not up to expectation. She had described them fairly well, and they were even better that I had expected.  There are three paintings, and two carvings.  I’m a sucker for the paintings. I call them paintings because they are essentially two dimensional, except even here Rentz cuts out and paints all the components and sticks them on the background so they do have some dimension.   There is a hunting camp along a stream with wildlife, a humorous scene of a hunter up a tree with his rifle on the ground.  A bear to his right, and a bull moose to his left.  Two bear cubs higher up the tree.  And finally a serene composition to two bull moose on the tundra.  For its serenity, balance, and subject matter this one has somehow become my favourite.

wedding

Alyss and Gary wedding gift, 1992

One of the carvings is an old man leaning on a cane. The final and most charming piece is a wedding scene complete with the groom hanging a ring below his hand.  The bride has a plastic orange onion net covering her head as a bridal veil, and there is a tiny flower girl offering them an enormous bridal bouquet.  Wonder and innocence. Rentz had it in spades.  Of interest,  is that this was a wedding gift from Ewald to Alyss and her husband Gary on the occasion of their wedding in 1992.  Gary’s father was Rudolf, one of Ewalds five brothers.  The others were Julius, Gustave, August, and Herman.  We had a nice chat and Alyss brought me along several photos and clippings that they had collected.  She said that they would visit Ewald quite often as they passed by Beardmore on the way to see their daughter.  She remembers him as a warm, and uplifting individual.  I always hear this about Rentz so it must be true.

One clipping is from the Thunder Bay Times-News from December 1978 and has some interesting insights so I reproduce it here.

articleGnarled Branches, Knots, made into Objects of Art, by Gerry Poling

Beardmore: (Staff)

Some people just can’t see the figures for the trees (to paraphrase an old saying) but not so in the case of Ewald Rentz of this community. The 70 year old barber/ prospector who was born in Wales, near Minot, North Dakota, left the United States at age two to move to the community of Emmerson, near Winnipeg. His interest in odd shaped tree limbs and branches came with his move to the Beardmore area, where he engaged in operating a bush camp for Domtar, and practicing his hobby of prospecting.

Rentz also had some training in barbering and over the years came to turn it into a profitable sideline, whenever he was not out in the bush looking for precious minerals.

During his prospecting days, he began finding odd shaped limbs and knots of trees, and being somewhat of an artist; he saw things in them which people would normally overlook.

Thus he began collecting the odd piece of wood, and after adding a few touches with the paint brush, converted them into unique carvings. “I don’t think you could really call them carvings, because I don’t carve them as an ordinary sculptor would” he said.head

SEES BEYOND

“Take this for example,” he said holding a spiney piece of spruce wood, which until he turned it up for a better look at the bottom section, appeared to be just the limb of a tree. “I just painted a couple of eyes on the bottom piece and laid it on its side and there was a porcupine.”

Over the years Ewald has collected more than 100m pieces which have been turned into a variety of figurines, ranging from rabbits through to Santa Claus, and moose.

One of his pride and joys is a limb which when turned one way, represents the figure of a young man with a cane, and when reversed becomes an elderly man with the same cane.

For forty years Ewald has practiced his barbering trade and now semi-retired, he continues to operate a small shop adjacent to his home on the main street of Beardmore where he cuts hair and pieces together his object-de-art.

Married, Ewald and his wife Emma have a daughter, Ann Fraser, who resides in Ottawa, and a son Ernie in London, Ontario.

Ewald loves his life in Beardmore for, while it is a rather quiet life, he enjoys the people he meets and works with each day, and also enjoys getting out into the bush to look for minerals.

So far his stakes have not paid off, but one claim is in the throes of being investigated as a possible gold source. However, even if his claim fails to bring forth any great find, it has provided him with the type of lifelong activities which have kept him young of spirit and in good physical shape.

husband

Gary and Ewald Rentz in Ewald’s shop