Joe Lloyd – Brantford carver captured life moments in miniature

You won’t find many references to Joe Lloyd in the folk art books.  It is difficult to see his work in museums. To my knowledge he never received an award or was offered a show in a public gallery. But besides being a heck of a nice fellow, Joe was a dedicated folk artist, and he had his niche.

Joe at his home in 1994

I met Joe in 1994 when I picked up signs he had voluntarily made for the one time Canadian Contemporary Folk Art Festival which was held in Paris, Ontario. He lived near the hospital in Brantford, and he and his wife Janet welcomed us in for a cup of tea in spite of the fact they did not know us. In the living room, behind him on some built in shelves there were many examples of his work. All on a smaller scale with the biggest being about ten inches tall. I asked him how he got started, and what he was carving at the moment.

He told me his carving life began at age 14, and he won a prize in grade five for his ivory soap carving of the Lone Ranger. Joe continued to carve occasionally but really “got back into it” in 1976 when he moved to Brantford, and met and was encouraged by local folk artist Gordon Papple.

Joe’s subject matter evolved from wildlife carving of fish, bear, and birds, into carving the human figure, and then he began to place those figures in small scenes, many which are interictally detailed. Typical subjects of Joe’s sculptures are sports figures, cowboys, super heroes, soldiers, and domestic scenes such as a man changing a tire as his wife looks on, a farm auction, a butcher shop, and a kitchen scene, a barber shop etc. All of his work is carved and painted and most of it is signed.  His prices were very reasonable, typically asking between $25 to about $60 for his most intricate pieces. Joe was a modest man. He told me he didn’t care about being paid for all the hours he put into producing the pieces, and was just happy to have the pieces go to appreciative homes, so the place didn’t clutter up, and he could feel free to produce some more.  We bought eight or ten pieces that day, and would call Joe every six months or so to see what he had been up to.  Usually going home with six to ten pieces.  Then in 2005 when I curated the Finding Folk Art exhibit at the Eva Brook-Donly Museum in Simcoe, we included Joe, and asked him to participate in a one day folk art sale which was a part of the proceedings. It was great fun, and he did very well that day.

Years slipped by, and we got busy with new ventures and life direction and we just didn’t get around to visiting Joe much after that.  A couple of years slipped by and the next thing we knew we were reading his obituary in the paper.  We didn’t know joe very well, but we really liked him, and we are glad to have known him and to own some of his pieces. At his best, his little, detailed miniatures look into moments of human behavior with a simplicity and clarity that make you happy to be looking at them.  They are both light-hearted, and observant. Because his work was not large or flashy it is easy to underestimate him. He stayed in his area, and he was good at realizing what he was imagining.  All this and not a self-conscious bone in his body. When he participated in the Simcoe exhibit we had him provide us with some biological details. This is what he told us.

a typical
Joe Lloyd signature

Joe Lloyd was born in 1937 in Ernstown, South Fredricksburg County, near Napanee Ontario. When Joe was one, his father became involved in cheese production.and moved the family to Aston, Ontario. Then when Joe was fourteen, he moved with his family to Carlton Place when his father got a job at the Finley Forge making cook stoves.

Joe left school at the age of fifteen, and went to work at various jobs in woolen mills, sheet metal plants, logging, pulp and paper mills, and then with the C.N.R. and Great Northern railways. Then Joe crossed Canada twice working on construction jobs in bridge work, highways, building construction and renovation. As a laborer, then carpenter, and foreman he has helped to build houses, bowling alleys, airplane hangars, cottages, and the Maple Leaf Gardens. Joe worked from 1976 until his retirement in 1999 as a maintenance worker, and then night security at the W. Ross MacDonald School for the Blind in Brantford, Ontario.

Joe lived with his wife Janet in Brantford until his sudden death on April 21, 2011 at the age of 74.  He is survived by Janet and two grown sons.

I’m looking at a little crane that he carved and gave to Jeanine when he noticed she had a collection of carved birds. It makes me smile.  His work lives on.

So long Joe.  It was good to know you.

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1977 article on Canadian Folk Art

The following article was originally printed in “Antiques and Art” magazine, July / August 1977 issue. It was written by Nora Sterling and Jackie Kalman. This article serves as a useful introduction to folk art, and it is also interesting to note how much folk art has grown in recognition and popularity over the past thirty years.


CANADIAN FOLK ART
By NORA STERLING and JACKIE KALMAN

When the Bowmanville Antiques and Folk Art Show opened its doors this year, waiting with the throng to enter were two people very significant by their presence. They were buyers from the Museum of Man and the National Gallery in Ottawa. The academically oriented National Gallery soon will be opening its folk art room and, in anticipation, has been collecting for the past few years.

By buying and displaying folk art, these prestigious institutions announce to Canadians what other more culturally secure countries have acknowledged for at least 50 years: folk art has finally come of age.

In the United States, as early as the 1920s, families like the Rockefellers, DuPonts and Whitneys had major collections of folk art, much of which now reside in three New York museums: the Metropolitan, the Whitney and the Museum of Modern Art.

In Canada, folk art is just being recognised as a viable and valid art form with qualities of freshness, inventiveness and vigour that make it exciting. What gives folk art its originality and charm is that, fortunately, the gifted artists who produced it are free from the dogmas and restrictions which the academic world imposes.

Folk art is not merely a quaint reminder of a nation’s manners and mores, a thing of the past with only functional or merely decorative purposes. It may indeed have all of these attributes, but like all good art, its expressions are powerful and compelling with an originality of concept, creativity of design, craftsmanly use of the medium and flashes of inspiration that are not surpassed by many academic artists.

Keeping in mind the similarities between academic and folk artists, the distinctive difference is that the latter is unschooled, while not necessarily unskilled. For example, a folk artist may have been whittling from his youth, creating bits and pieces for his own pleasure in his spare time. As an adult he may have become a white collar worker or perhaps a farmer, while still retaining his interest and further developing his skill.

Donald Hays is such a folk artist. Carving since he was five years old, he is .now in his early 40s and an engineer by profession. He carves bird decoys which he paints with the incredible expertise and attention to detail of an Audubon. With the true artist’s eye, he chooses those idiosyncratic stances and important characteristics that are peculiar to the bird he is carving.

On the other hand, Collins Eisenhauer, a folk artist who, like Grandma Moses, has “made it,” did not start intensive wood carving until 1964, when he was 66 years old. When asked what he did for a living in the ’30s, Eisenhauer replied, ” I wouldn’t like to tell you! ” He does admit, however, to being a farm hand, a logger and a sailor. His work has been bought by the Museum of Man, the Art Gallery of Nova Scotia and the National Gallery in Ottawa.

Though carved from big hunks of wood, his figures still have a two dimensional look about them. They have the static and stiff quality which is characteristic of naive art – as if the artist does not want to risk a trial of skill to depict movement.

Charles Tanner, an ex-fisherman from Nova Scotia, approaches the task of carving with even a lesser degree of academic knowledge of the craft of sculpture than Eisenhauer. He solves his technical problems simply, by a complete disregard of detail and a disrespect for proportion which, in effect, enhance his work. One is struck by his bold personal style – exuberant, colourful and direct. His sculptures are now on tour with an exhibit of Canadian art assembled by the Art Gallery of Nova Scotia.

Generally studied in a category unto themselves, decoys have a significant place in the spectrum of folk art. Following the Indian custom of making lures to attract water fowl, the white man began carving and painting decoys.

These decoys were utilitarian. They were meant, through their likenesses, to attract birds to be shot. The early makers sold their decoys for 20 cents to 50 cents a piece. However, when market gunning was prohibited in 1918, decoy makers and factories went out of business, so the sportsman, by default, became his own decoy maker.

At this juncture, decoys became folk sculpture. The link with the folk genre lies in the carver’s craftsmanship and especially in his personal interpretation of the salient characteristics of his quarry.

Sculpture is only one way in which the power and beauty of folk art is expressed. Rugs, quilts, paintings, furniture and accessories are among the wide variety of objects produced by folk artists.

Much has been written on folk art, albeit not Canadian. Many art historians, curators and artists have concluded that the expressions of folk art are world-wide and that they state universal truths – realities which will always be voiced by untrained people with a creative urge.

BIBLIOGRAPHY:
Barber, Joel. Wild Fowl Decoys. New York: Windward House, 1934. Reprinted New York: Dover Public- ations, 1954.

Bishop, Robert. American Folk Sculpture. New- York: E.P. Dutton and Company, 1974.

Folk Sculpture U.S.A. Edited.by Herbert W. Hemphill Jr. The Brooklyn Museum and the Los kngeles County Museum of Art. Catalogue- for 1976 show.

Folk Art of Nova Scotia. Art gallery of Nova Scotia, Halifax, Nova Scotia. Catalogue for show, November 1976 through May 1978. Biographies of artists and illustrations of their works.

Gladstone, M.J. A Carrot for a Nose:, the Form of Folk Sculpture on America’s City Streets and Country Roads. New York: Charles Scribner’s Song, 1974.

Hooked Rugs in the Folk Art Tradition. Museum of American Folk Art, New York. Catalogue for 1974 show.

Lipman, Jean and Winchester, Alice.The Flowering of American Folk Art, 1776-1876. New York: The Viking Press in cooperation with the Whitney Museum of American Art, 1974.

People’s Art: Naive Art in Canada. J. Russell Harper. National Gallery of Canada, Ottawa. Catalogue for, show, 1973-1974.

The April Antiques and Folk Art Show. Mel Shakespeare. Catalogue for the 1975 Bowmanville, Ontario, show.

In appreciation of Sid Howard

You know how with some artists you just love their work the first time you see it; recognizing that there is something genuine and authentic in it which places it above the work of others?  Something which goes directly  to your gut, bypassing the analytical brain cells. Well for me that’s Sid Howard.

Especially his early work.  His approach is direct, joyful, strong, and not at all self-conscious.  Simple lines.  A primitive elegance. I always get a lift when I look at his work.  I would see it on rare occasions over the years but did not become fully conscious of his life and work until I saw the NFB film “Folk Art Found Me” in 1993.  The fellows who made it set up and sold copies at the Bowmanville show that year.  A great film that you can see by following this link http://www.dailymotion.com/video/xpk3q0

Sid Howard sitting amongst his creations singing “Pretty Robin Redbreast” is such a treat in itself, and then he goes on to talk about getting started.  This would be about 1945.

“Well one day I sat down and I said, I’d like to make a fish, and I’m going to try it. I never made one before.  Well, I worked on it slow and easy and it come out good; and so from then on I liked it and I never stopped since.”

We are lucky that the film makers got this on film.  He died shortly after.

Kobayashi/Bird “A compendium of Canadian Folk Artists (1985) states,

Around many odd tasks and carpentry work (Howard) managed to find opportunities for pursuit of his wood carving interests, particularly after 1945.  His earliest carving, a deer, was inspired by a drawing in his daughter’s colouring book. He continued to carve cats, fish, birds, and human figures.  Many of his works were destroyed in a fire in the late sixties. He eventually began to undertake the ambitious project of carving life-sized figures, including his interpretation of Cape Breton’s legendary “McAskill Giant”. He also carved various low-relief plaques with nature scenes, such as a beaver in a marsh setting, or scenes with stags, horses, seals, fish, and sailing vessels.  Inspired also by popular culture, he carved large sharks modelled after the villain in the movie “Jaws”.  He also carved political figures and an RCMP officer.  By the 1980’s he was turning increasingly to television programmes for subject matter.”

An early Sid Howard full-sized figure.

I have bought and sold Sid Howard works occasionally over the last thirty years,  but as I was buying largely in Quebec I did not encounter them very often.  Then at one of the Bowmanville shows in the late 1990’s,  Toronto art dealer Av Issacs and I were talking about Sid, and he said “you know, I have a Sid Howard piece that I bought years ago, that I could part with. “  Of course I was interested, and so true to word, the next week I received from Av, a photo and come on letter.  “No reasonable offer refused”.  Ya right Av, I’ve known you for too many years to fall for that.

On the phone the next day when we set up the appointment Av said   “You are going to love this piece. It’s so strong.  Actually, I’m not sure if I should even be selling it.”  I could feel the price rising.

I felt “cool” going into his rented digs in that old factory full of artists on Richmond Street.  I’m not sure that it hasn’t been made into up-scale condos by now, but at the time it had a real scene living there.  Av had closed the gallery and retired, but rented this for storage and an office space.   On the way in you could see that the young artists loved him.  We reached his space, unlocked the door, and there was the Sid Howard sitting on an easel in the light of the north facing window.  What a knock out.  Av was right.  I didn’t even try to play it cool, or barter.  Av was far too seasoned and would spot it right away anyway, so I just said “You’re right Av, it’s amazing.  I want it. So how much do I have to pay for it, bottom line.  Prix d’ami.  I always try the Quebec term prix d’ami, or “friend’s price” because it puts a friendly, positive spin on it.   Av’s price was by no means a giveaway, but it was fair and so I counted out the cash.

I brought it home and Jeanine loved it, so we hung it in the dining room, and there it remains.

After concluding our business, Av and I were looking around at some of his things under the pretense that there might be something else I would like, so I asked him.  “you wouldn’t have any William Kurelek drawings or paintings laying around that you want to get rid of at a cheap price?”  Av smiled, “well no, I’ve sold every painting and drawing that I had for sale, but I could sell you this.”  He went over to a storage rack and pulled out a fairly large plywood packing crate.  He flipped it around and on the back was quite a beautiful pencil drawing of a western village.  Along with an elaborate colorful frame around the name and address area.  “He sent me some paintings in this case from out West,  and he took the time to make it beautiful.”  Wow.  Simply wow.  Of course even Av’s friend price was way more than I could afford.  But I still think about it once in a while.  And I still love looking at the Sid Howard eagle.

our Sid Howard eagle

Bill Male, painter of rural life in the La Prairie region of Quebec

William Male, also known as Bill or Willie, was born in 1918. He was an anglophone Quebecer who lived most of his life in or near Montreal, except for the war years which he spent in Europe, serving in the Canadian Armed Forces. After being wounded in Italy in 1944, Bill returned deaf in one ear, to Montreal, where he found employment as a furniture restorer with the firms of Henri Morgan and Alexandre Craig.

winter fun in Hemmingsford

In the 1970s, without any training of any kind, Bill Male started painting. Perhaps it was in response to certain voids in his life as a bachelor: “I never got married, the war got in the way of that” he said. Perhaps his solitary life prompted him to fill his paintings with images of people enjoying various social activities – viewing a show, sitting in a bar, picking fruit in an orchard, playing cards… In any case, these images speak of joy, friends, love and family. There are also, however, expressions of melancholy and loneliness in Bill Male’s work, especially the solitary portraits which often feature a woman sitting alone and waiting.

a lady alone.

When Bill Male retired he opened his own little antiques restoration shop in the town of Hemmingford, Quebec. He worked in his shop every summer and spent his winters painting his dreams and reminiscences.

remembering Europe during the war

We used to see Bill’s work from time to time at the picker’s barns, and then in the mid-nineties a collector friend noticed one of his paintings in our truck and said “That’s one of Bill’s paintings.  I know where he lives. Would you like to meet him?”.  Sure thing.  So with directions in hand, and a phone call ahead we arrived mid-morning at a three story, 1940’s apartment block near the baseball diamond at the edge of town.  Bill buzzed us in and we climbed to the second floor and arrived at his door. He must have been standing right on the other side because the second we knocked the door flew open and there stood Bill, all smiles, peering through those thick glasses.  His small one bedroom apartment was that of your old bachelor uncle’s pad.  Tidy, but full of upholstered chairs, crochet covered tables, and  knick-knacks; with every square inch of wall space covered by his paintings in every type, colour, and size All in reclaimed frames of every type and colour.  The effect was a bit dizzying, but also warm and hospitable.  “Everything is for sale, and at reasonable prices”, and so we picked out our favourite twenty or so and paid him what he asked in cash.  Bill didn’t talk much, and he never offered to make us tea or anything, but over a few visits he did start to warm up and tell us some stories from when he was in Europe, and one funny story of how he almost got killed in his workshop.  Well, funny because no one got hurt.

apple picking in Hemmingsford

Bill rented a garage for his work from a very old neighbor lady. He was slowing down on accepting work but still doing the occasional project for a neighbor. So he was working away one winter day with the doors closed and the heat fired up.  He was standing at the side of the shop putting wood in the woodstove when suddenly there was a tremendous crash, and bang, and shattering of wood in every direction as an old sedan came smashing through the closed doors, raced the length of the building knocking everything asunder, and went smashing out the far wall into the back yard.  Turns out his old landlady had arrived at a day when she confused the gas and brake pedals, and she tried to slam on the brakes. “It happened so fast I didn’t know what the hell was going on, but I knew I was damn lucky to be standing aside”.  “You’ve got that right, Bill.

We would go to see Bill another five or six times, always happy to see his new work, and to have a chance to get to know him a bit better.  We even wrote back and forth a bit. He would send me pictures of his new paintings and ask which ones he might put aside for me.  He was a lovely guy.  Then on one late fall day in 2003, we found ourselves in the area and decided to drop by.  He didn’t answer his phone but we knew he didn’t leave the apartment much so we took a chance and just arrived and rang his buzzer.  Someone answered but it wasn’t Bill.  The fellow explained that Bill had died suddenly a few months before, and he was the new tenant.  He didn’t have any information on Bill as he did not know him. With no living relatives and not knowing his friends we were struck with a sadness, made sadder somehow because there was no one to express our condolences to. We said a silent goodbye and left.

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.”

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

Les Patenteux du Quebec, the “bible” of Quebec folk art

In 1972 three young Quebecoise, Louise de Grosbois, Raymonde Lamothe, and Lise Nantel began research on Les Patenteux du Quebec.  Patenteux is an idiomatic Quebec word that roughly translates into Inventor or Creator.  The book was published by in 1978 with assistance from the Quebec Ministry of Cultural Affairs, and The Canada Arts Council.  For six years, the women sought out “Patenteux” across Quebec, documenting their words, locations and creations for posterity and to as they suggest in the introduction,  to be a “monument to our culture”.  You know how certain books become “the Bible” of a subject? Well this is “the Bible” of Quebec folk art.  A work of great importance now, and in the future for anyone interested in understanding and appreciating Quebec culture.

In the introduction they state, “We started research in 1972 at a moment when our culture interest was to return to the source, born from a feeling of sharp Nationalism which succeeded a long period when we were easily dazzled by everything foreign. We perceived that the Quebecois people, who had survived 300 years of systematic humiliation and dispossession,  was not a people without culture and history. The ingenuity that our ancestors applied to adapt to the climate, and to conquer their isolation testifies to this. They had to survive.  They had to reinvent their architecture, their tools, their ways of feeding and clothing themselves, as well as their celebrations.  This process of rehabilitation of our history and culture, which was an attempt at decolonization has given us a new image of ourselves, and brought us to search for our identity.”

 The book records seventy five artists broken into nine geographical regions.  It is a treasure of information which is out of print and now hard to find. It has never been translated into English.   There’s a Canada 150 project I would like to see.  A hardcover version in both official languages.  But it seems the money is going to fireworks and giant rubber ducks.  But I digress.

I love this book even though I struggle to understand the accurate recording of the patois of the subjects.  There’s lots of wonderful pictures.    In my February 18, 2013 blog  “My happy time with Mr. Joly’s whirligig” I recall our first encounter.  “Fast forward to the next summer and we are enjoying a weekend in Quebec, our favourite North American city.  We had heard of a bookstore where it was possible to buy a rare book, Les Patenteux du Quebec,  which we knew to be the “bible” of Quebec folk art.  Published in 1978, it is the work of three young Quebec women who spent  a summer or so traveling all over Quebec documenting, and recording the stories of every Quebec folk artist they could trace.  We found the shop and bought the book, and when we cracked it open, it opened to page 19, and behold there was our whirligig. With a picture of it in it’s original location, and a statement by the artist.  Extraordinary.”

The love and respect shown to the artists is clear by “ the letter to the Patenteux”  which begins the book

“You encouraged us to make this book by telling us that you would like to know what the others are doing.
We wanted everyone to recognize you.
We hope that we have been faithful to what you have told us, and that you will recognize yourself. We apologize in advance for the errors which may have crept into the information we give.
A wonderful memory of you is guarded. Your great vitality has given us the taste to live for a hundred years, to get to do things as extraordinary as you do. “

Over the years I have been able to identify the unsigned works of many artist by thumbing through this book.  Every time this happens I thank the authors, and I inevitably linger, trying my best to decipher the comments, and just letting myself imagine meeting and experiencing the environments the artists create.  It has also helped us track down many artists who  continued to live and work in the places they were recorded.  Folk artists tend to stay put.

For all these reasons I salute and give a heartfelt thank you to the authors for their dedication over the six years it took to produce this book.  You have made a valuable contribution to the Quebec cultural identity, and further to our Canadian Identity.  A book worth having. Try to find yourself a copy.