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.

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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. “

 

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.

The Art of the Grenfell Mission

The April  2000, Bowmanville Antiques and Folk Art show was a special year in that it featured the show and sale of a large collection of the work created by artisans of the Grenfell Mission of Newfoundland.  The collection of about two hundred pieces was accomplished over a twenty year period of dedicated searching by Ontario collector Robin Moore, and the sale was organized by her friend and mentor, quilt and fabric specialist Carol E. Telfer.  A beautifully illustrated, 45 page catalogue “art of the Grenfell Mission, the Robin Moore collection” accompanied the show.  The collection was offered to be sold only in its entirety.

In her opening comments Robin Moore suggests “ Michael Rowan, an old antiques buddy, has always maintained that antiques are on loan to us – we are their custodians for a period of time.  It has been my pleasure to have been the custodian of this truly marvelous legacy of the people of northern Newfoundland and Labrador, which I humbly refer to as “my Grenfell collection.” The time has come to pass it on to the next custodian – to love cherish, and preserve.  My dream?- to have my collection return to St. Anthony, Newfoundland where it all began 100 years ago. Wouldn’t that be wonderful?  Well, wonderful things do happen, as the entire collection was sold on opening night to a Newfoundland museum.  A prime example of the importance and contribution to our national heritage that a dedicated collector can make.

There is quite a bit of information about Grenfell on line.  What follows are quotes from the heritage Newfoundland and Labrador site:

“The Grenfell Mission provided some of the earliest permanent medical services in Labrador and northern Newfoundland. Before the mission opened its first hospital at Battle Harbour in 1893, almost no health-care resources existed in the area – hospitals were nonexistent. Alongside its medical endeavours, the mission sought to make other social changes, specifically in the areas of education, agriculture, and industrial development. To this end, mission workers built schools and helped establish lumber mills, community farms, co-operative stores, and a commercial handicraft industry to create alternative sources of income.

British medical missionary Wilfred Grenfell arrived at Labrador in 1892 to investigate living conditions among local fishers for the United Kingdom’s National Mission to Deep Sea Fishermen. Shocked by the area’s widespread poverty and almost complete absence of medical resources, Grenfell spent the next year raising money at St. John’s and England to establish regular health-care services in Labrador. The mission opened a hospital at Battle Harbour and began construction on another at Indian Harbour. It also acquired a second hospital boat, the Princess May, to help medical personnel service fishing stations and coastal communities.

Alongside providing medical services, the Grenfell Mission sought to improve living conditions in general for people in Labrador and northern Newfoundland. To stimulate industrial development, the mission established a series of co-operative stores near many of its medical stations. Mission workers helped to create a local handicraft industry that allowed residents to sell hooked mats, knitted goods and other items at North American retail shops.”

From Wikipedia we learn “The Grenfell Mission established a Village Industry Department prior to 1930. Artists came from abroad to support the artistic endeavors of the residents of northern Newfoundland and Labrador.

The Grenfell Mission was famous for its burlap rugs, which were sold to hospitals in the United States and Britain. Encouraged and promoted by Dr. Grenfell, the rugmakers of the mission sometimes used designs created by Mrs. Grenfell. Beginning in the early 20th century, the International Grenfell Association (IGA) hired Jessie Luther of Providence, Rhode Island, to set up and direct the Grenfell Industrial Department. Grenfell established retail shops in England and in several U.S. cities. These shops were staffed by volunteers and augmented by travelling salesmen. Following the death of Dr. Grenfell and the surge in machine-made rug production, the business gradually failed.”

Carol Telfer did an excellent job of summarizing the Grenfell history in the catalogue with her two page essay “a brief history of the Grenfell Mission”.  I suggest you buy the catalogue which is still available, but if you want to learn the complete history in precise detail you can go to http://www.grenfellassociation.org/who-we-are/history/   the international Grenfell Association site.

The dedication to the catalogue reads “Dr. Wilfred Grenfell arrived on the north shore of Newfoundland more than a century ago.  He was greeted by a shy, yet industrious people who inhabited a beautiful, but isolated land. They led a harsh existence.  This catalogue- a visual tribute- is dedicated to the men and women of northern Newfoundland and Labrador, for the incredible works of art which they produced through the Grenfell Mission.  May their legacy continue.

Amongst the stars in Port Carling

There were many reasons to look forward to doing the Port Carling antique show in the early nineties. It was very well run and promoted by the Gadsden’s. Unlike today, the town and area had very few antique shops and there were a lot of rich people building and buying cottages. In those days they would actually trust their own taste and come to the show looking to furnish their cottages themselves.  Nowadays they don’t trust their judgement and not wanting to embarrass themselves with something that would have their friends questioning their taste, they bring along their decorators who tell them what they should buy.

Also, in those days the show opened Thursday night and ran Friday and Saturday, which was not only great from the perspective of getting home on a day when the southbound traffic was light, but also worked well because many wives would stay at the cottage with the kids during the week while hubby worked in the city.  These wives would come to the opening and buy as they wished, or make notes of what they wanted and then drag their husbands in on the Friday or Saturday.  It held the potential in those days of being our most profitable show, and we were always looking for “cottagy” things to take to the show.   Canoes, rustic furniture, folk art, and all things you associate with a vacation home were almost certain to sell.  The Thursday night opening was a feeding frenzy, and as soon as the doors opened and the line-up filled in you had to be on your toes because it was common to have more than one person wanting to buy something at the same time.  You had to be careful, especially with two sellers operating the booth that you didn’t sell the same thing twice, to two different people.  There’s your potential for some nasty exchanges.  Things would settle down a bit after that initial hour, but  sales would remain strong over the next two days.   And then there was the additional excitement of exchanges with movie stars. 

During set up on Thursday all the talk would be on whether Kurt and Goldie were in town, and which famous friends they might bring along to the opening.  Nancy Short, Martin’s wife could be counted on.  She came every year and would buy a lot.  She would also bring along friends and encourage them to buy.  She was also a very nice woman, so we definitely looked forward to seeing her.  I enjoyed selling a pyrotechnic decorated rocking chair to Mary Tyler Moore one year, who was as nice as you would imagine her to be.  When Joanna Cassidy bought a piece of folk art from me, I have to admit that the scene in Blade Runner of her running away from Harrison Ford and eventually being shot and falling through panes of glass, kept running in my head.  Quite distracting.   It was always a delight when the wonderful Catherine O’Hara would turn up looking like an un-made bed and trying to rope in two or three unruly children.  She was always funny and friendly, and would treat you like her neighbor.

It was the talk of the show one year when on the opening night,  Kurt and Goldie decided to buy a little side table from us. At the time, I was helping to load a dresser we had sold in the parking lot, but I heard all about it before I got back into the hall.  Jeanine does not know, or for that matter much care who Kurt Russell is. I don’t think she was into “Escape from New York’ the way I was. “Snake” didn’t mean anything to her.  She recognized Goldie Hawn of course, but she is not particularly impressed with stardom in any case, and tends to treat stars like anyone else. I think that for the most part most stars actually appreciate this, but they do get used to being treated as “special”. It started when she questioned Kurt about his visa card.  “well, I can assure you it’s good”.  “I’m not worried about that, it’s just that I’ve never seen a card like that before”.  It wasn’t that she mistrusted him, but it was from a bank she had never heard of.  “O.K., can you bring the table to the loading door, and I’ll get my car.”  “Well as you can see I am on my own here, so if you can wait until my husband returns he will do it, or otherwise might I suggest that you seem like a fit and strong man, perhaps you can carry it yourself. “  He looked surprised, and somewhat taken aback, but then smiled, and said “Of course I can.”   Our neighboring dealer could hardly contain herself.  She immediately rushed over. “Don’t you know who that was.  That’s Kurt Russell, he’s a movie star and married to Goldie Hawn”.  “Oh really.  How nice for him, but still I am right that he was perfectly capable of carrying that table himself”.  That’s the way Jeanine calls them.  I love that. Everything I hear suggests that Kurt’s a regular guy, he just forgot how it felt to be treated like one.  I think he enjoyed it.

our booth at Port Carling, one year in the early nineties

Remembering the Pierre Laplante auction- a vast collection of Quebec folk art and antiques

We first met Pierre Laplante when he participated for one time in the 1997 Bowmanville Spring Folk Art and Antique show.  We set up just down the aisle from him and before the show was over we had gotten to know each other through many friendly exchanges, and also he bought a giant lumberjack that was our show stopper to put in his indoor pool area at his rural home.  Nice fellow.

It was announced at the show that Bill Dobson was managing an auction of Pierre’s collection on May 17 and 18th, with auctioneers Tim Potter and Cec Knight in Kingston.  It was exciting news as Pierre had a reputation as a very serious collector of Quebec folk art.   We had heard many stories from the pickers in Quebec of the dentist from Montreal that would buy almost everything that they would bring to him.  Often this was said in the form of an apology for not having anything to offer us.

cigar store Indian marked “Illinois”, late 19th cent. – $5,000

If you have the money and the will this is a very effective way to collect.  Once a few pickers know they can rely on you to buy almost anything they bring you, they will put in a special effort, offer everything to you first, and as they say be happy to “make hay while the sun shines”.  It was rumored that after a few years of collecting this way, the barn and out buildings at his weekend farm in the La Prairie region south of Montreal were chock full of wonderful stuff.   Folk art was still a very strong market in 1997 so when the auction came, we broke open our piggy bank, and went loaded for bear.

mounted wooden model of a steamship,early 20th cent. – $750

The catalogue has an interesting two page introduction by Pierre which explains his interest.  It begins:

“The wellspring of folk art lies in the heart, not the wallet.  It is an audacious mix of techniques and materials; a multiplicity of themes and genres.  Folk artists are not artists in the conventional understanding of that word, rather they are ordinary folk without pretense or grand artistic ambitions. Through Quebec folk art, we can glimpse the geographical, historical, social, and religious character of the province, and in that sense, the heritage of Quebec folk art ranks along with its architectural and technological history.”  He goes on to discuss the many factions of folk art and concludes; “ I have collected folk art for over 30 years.  It’s a past time – even a passion – that gives me the opportunity to meet people who live anonymously but have many things to say, and they do speak, in their own way.  Many of these talented people are not considered artists.  They should be. Perhaps if they had lived in another place or another time, they would be considered such. There’s so much great folk art there that deserves a place of honour in all art collections.”

Well said Pierre, and the massive, well organized, two day auction saw many such pieces make their way into some important collections, while realizing some pretty phenomenal sale prices.

Lucien Legare horse, buggy and rider

We were able to buy a lot of stuff. We paid relatively big money for some things like this Lucien legare horse, buggy and driver at $750, but with so much on offer we were able to scoop up many bargains as well.  Like this Felicien Levesque tableau of the Titanic sinking at $625. Well under the money.

The Titanic by Felicien Levesque

Things started out modestly with maple sugar molds, and smaller carvings and accessories going in the expected $200 t0 $400 range, and then people started paying attention when lot 161, a painted whirligig Mountie which is illustrated on the cover went for $900. Soon after a tin rooster weather vane in old white paint realized $1,250.  Then lot 195, a knife with carved wooden handles in the form of a fleurde lis with a man’s head brought $1,900.  Things were moving.

There were a few gasps when a beautiful Nova Scotia document box from 1914 with interlocking hands, hearts, stars, and leaves went for $1,900. Followed shortly after by an oil on glass painting of tugboats on the Saint Lawrence attributed to Captain P. Carbonneau which saw $2,500. An Alcide St Germain hanging flying goose achieved $1,000, and the tone was set.  Here’s a couple of the highlights.  There were many more.

We went on to establish a relationship with Pierre after the auction and were invited to visit him and his wife at their farm.  We had a wonderful evening of laughter,  good conversation and an excellent meal, and we even enjoyed the adventure of climbing up the tiny ladder to the second floor guest room of the century old farm house.  I made sure my bladder was empty though because I didn’t fancy climbing down in the dark to find the washroom.  We realized that for as much was sold at the auction, he had twice as much great stuff still in his collection.   We even had a chance to say a quick hello to our lumberjack friend in his new residence by the pool.

large pulpit decor from Grosse Island where Irish immigrants were held in quarantine, made as a greetings from French Canadians. – $3,100