Nomination for Pierce, Elijah, Properties

From the form

The catalogue entry the section above was filed under.

NPS Form 10-900 OMB No. 1024-0018 Exp. 10-31-84 United States Department of the Interior National Park Service See instructions in How to Complete National Register Forms 1. Name and/or common Pierce, Elijah, Properties 2. Location A. 534 East Long Streetl street & number B. 142-44 North Everett Alley city, town X state 3. Classification - public & occupied - agriculture X museum (art gallery) X private X commercial - park - structure _ both X private residence - site _ object - in process - yes: restricted X N/A 4. Owner of Property 5. Location of Legal Description courthouse, registry of deeds, etc. Franklin County Administration Building has this property been determined eligible? September, 1979 (FRA2706-18, 142-44 N.

Everett - local county Category code government yes Accessible entertainment (3-82) educational Public Acquisition district industrial other: religious being considered historic Ownership Status transportation Inventory-Nomination Form Columbus scientific Ohio Historic Inventory date entered Elijah and Estelle Pierce Type all entries-complete applicable sections Present Use 6. Representation in Existing Surveys National Register of Historic Places Xbuilding(s) 440 South High Street Alley only) N/A not for publication work in progress title Ohio military For NPS use only N/A vicinity of 039 date Franklin 2290 Margaret Avenue And 7.

Description _ deteriorated X original site X altered The Elijah Pierce Properties in Columbus, Ohio include his barbershop/gallery (534 East and residence sit adjacent to one another on the same commercially-zoned lot in an area affected by extensive demolition, urban renewal, and manufacturing. The Pierce's current A. 534 East Long Street was constructed in 1954 as Elijah Pierce's barbershop. The with a five-step approach. There is also a single light opening in the west and north struction building is finished in barn red, with hand-painted trade signs. A red interior, original mantel and woodwork is extant.

unexposed Condition fair unaltered houses a permanent colletion of Elijah Pierce's woodcarvings and his own collection and rear of the structure.There is a cement four-step approach at the front.Two building is a single story stuccoed cement block structure painted brick red, with affiliation) is located within the same Near Eastside neighborhood.These three properties stepped parapet with coping.The building faces southward onto East Long Street. blue walls.Every surface is alive with small sculpted figures."(Aschenbrand,1982). this former residence of Elijah Pierce have plain stone lintels and lug sills on the Check one Later alterations include a rear cement block wall and patio and a south side single excellent A new addition of the same construction was added in l980.At this time Mr.Pierce story shed roof addition of stuccoed cement block with 10 light openings.

are the only ones remaining in Columbusaffiliated with Elijah Pierce, 142-44 North Everett Alley was built c.1910 and purchased by Elijah Pierce in 1949. residence at 2290 Margaret Avenue included in this nomination because of recent _ ruins Describe the present and original (if known) physical appearance

Description of the property

retired from barbering and renamed the shop "Elijah Pierce Art Gallery." The addition date moved the presence his old barbering chair.The barbershop/gallery is considered an integral interior chimneys project from the inclined flat roof.Although redecorated on the leather barber's chair remians.Polychromed wood relief plaques cover the bright Long Steet) and his former residence (142-44North Everett Alley).The barbershop/gallery sits on a coarsed stone foundation facing to the west on the alley.The openings in light double hung.Single entrances to each of the two units are centered in the facade 8.

From the form

The catalogue entry the section above was filed under.

Significance Areas of Significance - Check and justify below - prehistoric - archeology-historic - sculpture X art (folk) .engineering _communications X 1900 . other (specify) Specific dates 1946, 1954 in our 'past in the field of folk art, an aspect of our past frequently not recognized. additional means to foster awareness, promotion, respect and preservation of these resources. There is a need for more rapid evaluation because of their vulnerable nature, if preservation license in Baldwyn in 1920 after the death of his first wife. Following the woman who became 1800-1899 continued 1600-1699 1500-1599 1400-1499 1700-1799 1929. philosophy invention commerce literature education conservation theater economics Period music industry agriculture exploration/settlement architecture military humanitarian science transportation law social/ politics/government Statement of Significance

Statement of significance

(in one paragraph) years and he has provided us with significant artwork which is more than sixty years old. contribution to black American history through his excellence as a folk artist.3)They and barbershop being nominated are two of only three such structures still standing.In the two most significant of the three remaining properties affiliated with Elijah Pierce. an internationally recognized wood carver/folk artist, who is considered to have made of eleven other structures associated with Elijah Pierce) has illustrated the need for are exceptionally significant because l)they are associated with an individual significant any works of the magnitude of such masterpieces as The Book of Wood,1932 or Noah's Ark, is to be encouraged.

nomination are 1) his former residence,142-44 North Everett Alley and 2) his former _ archeology-prehistoric _ community planning landscape architecture - religion The Elijah Pierce Properties are significant for their affiliation with Elijah Pierce, 2) They are resources associated with an individual significant in our past for his Past performance (the demolition is justified because 1) although still living, Elijah Pierce has had a full life of 91 in Baldwyn, Mississippi. He learned the trade of barbering at age 16 and received a preacher': his second wife, Elijah arrived in Columbus, Ohio in 1924.

He worked and lived in as many Builder/Architect unknown The Elijah Pierce Properties are significant for association with a living person.This 2) Although Elijah Pierce is still carving, he is not producing nor intending to produce barbershop,534 East Long Street.Both properties are associated with Elijah Pierce's a significant contribution to the black American folk art tradition.The basis of his Street was formerly the major commercial center for the black community and the barbershop barbershop at 534 East Long Street which is on the same lot as the Everett Alley residence. legacy was established in the 1920's and 1930's.The two properties included in this fourteen different locations.5)They are located on a single lot in a commercially- productive life asa wood carver.

in 1980 at which time the barbershop was renamed "The Elijah Pierce Art Gallery." 1946 Elijah moved to 142-44North Everett Alley.He purchased the double in 1949 and lived 9.

The rest of the file

Bibliography, boundary description, and the people who prepared and reviewed the nomination.

Major Bibliographical References 10. Geographical Data Quadrangle name Southeast Columbus, Ohio Quadrangle scale - UT M References 534 E. Long St. & 142-44 N. Everett Alley: Being Lot #5 (31' X109') of Oliver P. Tong's Co. Recorder's Office. - state county N/A 11. Form Prepared By Kathy A. Mast, Historic Preservation Consultant street & number 991-B Manor Lane city or town Ohio 43221 The evaluated significance of this property within the state is: _ national As the designated State Historic Preservation Officer for the National.Historic Preservation Act of 1966 (Public Law 89 665), I hereby nominate this property for inclusion in the National Register and certify that it has been evaluated State Historic Preservation Officer signature W.

ra Northing code date Easting organization Zone Attest: Columbus Chief of Registration 1:24,000 local Verbal boundary description and justification See continuation sheet. excepting 20'6" in length off the south side thereof appropriated to widen Long St.,as recorded name/title 12. State Historic Preservation Officer Certification Heirs' Subdivision situate at the northeast corner of North Everett Alley and East Long St. May/1983-REVISION August 16, 1982 For NPs use only telephone 614-457-3582 in Plat Book 2, p.145 of FRA according to the criteria and procedures set forth by the Natlonal Park Service. Nhereby certify that this property is included in the National Register Acreage of nominated property Each lot is less than l acre. Keeper of the National Register List all states and counties for properties overlapping state or county boundaries NPS Form 10-900-a OMB No. 1024-0018 Exp.

10-31-84 United States Department of the Interior National Park Service Elijah Pierce Properties, Columbus, Franklin County, Ohio Continuation sheet Item number Elijah Pierce remembered carving in trees, making walking sticks and whittling in scraps Elijah explains the religious themes which predominate in his work:'"I ran from the in his spare time, using primarily a simple pocketknife to translate his visions into wood.

In all types of wood Elijah's untrained hand has carved out the images and then embellished taken traditional craft techniques, shared by African-American and Anglo-American prac- titioners, and used them in combination with a particularly powerful personal religious carved in numerous small, individual pieces in 1933 and only later mounted in its present 33 separate scenes from the life of Christ ("one éach for the years of Hig life") , mounted early works hanging as a part of the artist's permanent collection in the barbershop-turned- by Elijah through the years. In addition to the religious focus, secular themes such as politics, current affairs, sports, his autobiography and his menagerie were included in his repertoire. However, Elijah has emphasized that all the carvings have a story.

Folk artists were not considered within the mainstream of art criticism until fairly recently, but well qualified individuals have evaluated Pierce's work and their conclusions have established his prominent place in American art. The fact that Elijah Pierce's national has beensassessed in a national context in such primary folk art references as American Folk recognized Elijah Pierce include The Museum of Modern Art, Abby Aldrich Rockefeller Folk Although much of this attention to Elijah Pierce and to folk art in general has been of late, it is important to recognize that many of Pierce's most noteworthy carvings date back more than fifty years ago.

After this briefing on the history and development of Elijah Pierce and his avocation as a Page received Inventory-Nomination Form date entered (3-82) National Register of Historic Places Weissmanevidences that art historians believe sufficient time has passed to evaluate his For NPS use only wife as a gift. In response to her affection for thei animal, he promised her an entire fairs, markets and bazaars. He would preach the meaning and purpose of his art along the All through the years Elijah Pierce carved other carvers and painters of the twentieth century who are described as 'folk artists' but whose work reflects an individual as opposed to communal aesthetic, Mr. Pierce merits the Folk Arts Program, National Endowment for the Arts) Traditional Arts Program, Ohio Arts Council) "The religious aspect of Pierce's work reached form.

The Book of Wood was completed over about a six month period in 1932. It includes on seven sheets of cardboard bound together by string." (Livingston,1982) gallery include Christ's Charge to Peter, 1920; Noah's Ark, 1929; The Ascension, 1930; and The as a folk artist. Many of these early themes and, in fact, actual works were then repeated wood carver, it is important to understand the relationship of the artist to the properties Art by Robert Bishop and Twentieth Century American Folk Art and Artists byHemphill and Art Center, The Renwick Gallery of the National Museum of American Art, The Corcoran Gallery and the International Meeting of Naive Art in Zagreb, Yugoslavia where he took first prize. included in this nomination. The significance lies in the integration of Pierce's works with Other significant NPS Form 10-900-a OMB No. 1024-0018 Exp.

10-31-84 United States Department of the Interior National Park Service National Register of Historic Places Contínuation sheet the environment of their creation, display and interpretation by Pierce himself since the barbershop's construction in 1954."The documentation of the context of Pierce's art The permanent location has also provided a setting for "an Undoubtedly, this shop has served as a repository for these priceless early works. Elijah Pierce's barbershop, 534 East Long Street, was built in 1954. It was the first and only shop he had built for himself. He barbered there from 1954 until 1980 when he essentially unchanged from when it was an active barbershop. Significant features include A relatively small addition was built in 1980 which extends across the back of the building.

Elijah Pierce's residence, 142-44 North Everett Alley, served as his home from 1946 until It was his primary place of residence in the city of Columbus, having served him integral role with the creative spirit of Elijah Pierce. He carved both at home and at his shop whenever he had a spare moment. June/July 1982,p.24. Aschenbrand, p.25. Correspondence, 24 August 1982. FOOTNOTES Page Inventory-Nomination Form received (3-82) (continued) date entered Associate Director Jane Livingston "In (both) structures, an event of historic importance has occured - one of America's most Elijah Pierce is in himself an extraordinary American institution.

For NPS use only shares an important coequal with that of the art itself and that of the artist."(David it in fact became an expression of himself.The melange of figures setting on surfaces Jane Livingston and John Beardsley,"Black Folk Art in America,1930-l980,"Jackson: Item number L. Taylor, folklorist) "Each of Pierce's works has its spearate identity, like that of retired. The shop was more than just a place where Elijah practiced his trade and art, but the decor, for instance, are all extensions of Pierce's creativity. The barbershop is the barber chair, sink and the table and chair where Elijah had whittled away between customers. *Robert T. Teske, Arts Specialist, Folk ARts Program, National Endowment for the Arts, 1982, p.l. University of Missouri Press, 1982, p. 120.

the spacial arrangements of carvings hanging on the walls, and the selection of colors for Its function is gallery space. (Eldredge) Richard A.Aschenbrand,"Elijah Pierce:Preacher in Wood,"American Craft Magazine NPS Form 10-900-a United States Department of the Interior National Park Service David L. Taylor, Folklorist, Correspondence, 17 September 1982. Jane Livingston, Associate Director, The Corcoran Gallery of Art, Correspondence, (3-82) Page Ibid. received National Register of Historic Places Continuation sheet date entered Inventory-Nomination Form 11 August 1982. Ibid., p.2. For NPS use only OMB No. 1024-0018 Exp. 10-31-84 Elijah Pierce Properties, Columbus, Franklin County, Ohio Item number FOOTNOTES continued: Charles C. Eldredge. EXT. 12/31/34 United States Department of the Interior Item number Huntington Trust Gallery, Columbus, Ohio February 1973.

Columbus Museum of Art, Columbus, Ohio November, December 1973. Gallery 200, Columbus, Ohio October 1979. Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia, 1980. Ohio State Fair Exhibition, Columbus, Ohio August 1980. Cincinnati Art Museum, Cincinnati, Ohio, 1981. Don Coburn Art Gallery, Ashland College, Ashland, Ohio March 1981. Renwick Gallery, (Smithsonian) Washington, D.C. 1981. Nationwide Gallery, Columbus, Ohio 1981. Corcoran Gallery of Art, Washington, D.C., 1980. (Traveled to Los Billboard-Columbus, Ohio; Golden Age, same. Ohio Gallery, Columbus, Ohio, 1982. 1972-73. Inventory-Nomination Form SHOWS-PARTIAL Continuation sheet Peale House Galleries, Pennsylvania Academy of Fine Arts, Philadelphia Page National Register of Historic Places Angeles, Houston, Louisville and Brooklyn 1982. Westminister Presbyterian Church, Dayton, Ohio May l974.

National Park Service The Museum of Modern Art, New York 1972. Phyllis Kind Gallery, New York, 1979. Bernard Danenberg Galleries, New York l972. December 197l. date eniered NPS Form 10-900-a El1Jah Pierce Properties, Columbus, Franklin County, Ohio Miscellaneous: Springfield, Ohio; Friendship Village Columbus, Ohio; The Ohio State University, Columbus, Ohio prior to February 1973. Whitney Museum, New York--date unknown., Krannert Art Museum, University of Illinois, Champaign, Illinois (7-81) For NPS uso only United States Department of the Interior For NPS use only Page Z First Place, "Naivi '73", Zagreb, Yugoslavia 1973. One of City's Ten Most Important Men, Columbus, Ohio 1973. 1980 (April) - Governor's Award for Community Action, Ohio 1974. (June) - Plaque from Gay Tabernacle Baptist Church, Columbus, Ohio; Honor 1975. Black Hall of Respect, Columbus, Ohio 1975 (April).

Senior Citizen's Hall of Fame, Columbus, Ohio 1980. Honorary Doctorate in Fine Arts, Franklin University, Columbus, Ohio Distinguished Service Award, Columbus, Ohio 1980 (June) . PERMANENT COLLECTIONS-PARTIAL "The Three Wise Men" 1936. "Before Death All Are Equal" Dog" 1971. 1946. AWARDS-PARTIAL Inventory-Nomination Form Continuation sheet date entered National Register of Historic Places NPS Form 10-900-a National Park Service Tribute to Elijah Pierce--Resolution of Ohio House of Representatives Ohio State University Galleries of Fine Elijah Pierce Properties, Columbus, Franklin County, Ohig EX.. 12/31/84 National Heritage Fellowship, Washington, D.C., 1982. Item number OMB NO. 1024-0018 EXP. 12/31/84 United States Department of the Interior National Park Service Elijah Pierce Properties, Columbus, Franklin County, Ohio Item number 1982, p. C1-C1O.

ASCHENBRAND, RICHARD A., Associate Professor, Columbus College of Art and Design. June/July 1982, pp. 24-25, cover 3 with full color photo. BAIST, ATLAS 1899, 1910, 1920. CALDWELL, ATLAS 1872. CLEMENS/PRUDENT, Map of Columbus, Ohio 1907. COLUMBUS DISPATCH, 13 November 1977. received Page Inventory-Nomination Form Continuation sheet NPS Form 10-900-a date entered For NPS use only National Register of Historic Places Interview June 1982. Keep Pierce Perking."The Columbus Dispatch,13 March 1977. Museum of 1982. 18 April 1977. 12 August to 24 August 1980. Journal, 17 November 1981. Ohio. November 1980, p. 20. "Pierce's Work Will be Shown All Over U.S." Columbus Citizen- (7-81) "Elijah Pierce." EXP. 12/31/84 United States Department of the Interior Item number 1974. Carolyn Jones. 6 March 1982.

name) 30 November to 30 December 1973. Summer 1982, p.3. (update) . Inc., 31 October 1979. HART, Map of Columbus, Ohio 1856. _- Columbus Citizen-Journal, 1 March 1976, p. 15. Journal, 3 September 1979, p. 22. 1 April 1980, p. 6. Columbus Citizen-Journal, 21 October 1980, p. 23. Inventory-Nomination Form received Page National Register of Historic Places date entered National Park Service Continuation sheet Elijah Pierce Properties, Columbus, Franklin County, Ohio NPS Form 10-900-a For NPS use only "Success After 60 Give l4 Berth in Ohio Hall of Fame for Senior Citizens." GRAHAM, Map of Columbus, Ohio 1876. OMB NO.1024-0018 "Gallery 200", Program of Show, 14 October to 11 November 1979. Plain Dealer, 1973. "Elijah Pierce, Sermons in Wood." Columbus Museum of Art,Columbus, Ohio.

Movie "Tribute to Elijah Pierce." Columbus Art, Special Issue, "Gallery 200 slates Tribute to Pierce." The Columbus Dispatch, 7 October 1979. (7-81) "Elijah Pierce Wood Carver."Program of Gallery of Fine Arts Show Clicks at Gallery 2Oo."The Columbus OMB NO.1024-0018 NPS Form 10-900-a EXP. 12/31/84 United States Department of the Interior Continuation sheet Item number g 1979, pp. 1, 22-3, 29, 31, 39, 40. 22 October 1980. KAMAU, KOJO. Photographs. June/July 1982, pp. 20-21, 80. MAP of Columbus, Ohio 1868. 15 January 1982, p. 5. PEALE HOUSE, Program of Show, Pennsylvania Academy of the Fine Arts, 21 December 1972, Page Inventory-Nomination Form received National Register of Historic Places date entered January 1973.

National Park Service For NPS use only History-Makers Help Advent Church Project Real Life Venture for AND MAT HERBAN."Billboards Can Be What's Solution to E.Tapes and interviews April through September 1982. Elijah Pierce Properties, Columbus, Franklin County, Ohic HEMPHILL, HERBERT W., JR. AND JULIA WEISSMAN. New York: E. P. Dutton and Co., Inc., 1974. HORWITZ, ELINOR LANDER AND J.RODERICK MOORE, Consultant. Contemporary American Folk HOSTER, JAY. OSTROW, JOANNE. "Our Elijah Pierce." The Call and Post, 20 March 1982. "Pierce Story on I.V." WBNS-TV, 23 November 1973, Columbus, Ohio. POLK, R. I. Columbus City Directories (Ohio) 1889 to 1970. Artists. (7-81) Twentieth Century American Folk Art The Washington Post, MOORE, GAYLEN."The Vision of Elijah."The New York Times, 26 August 1979.pp.28-30; 34.

The Call and Post, United States Department of the Interior National Park Service Elijah Pierce Properties, Columbus, Franklin County, Ohio Item number 9, SEIBERT, MARGARET. apes and unpublished manuscript, Fall 1980 through Summer 1981. Inventory-Nomination Form Page "The Speaker and the Honoree." date entered OMB NO.1024-0018 Continuation sheet National Register of Historic Places EXP. 12/31/84 NPS Form 10-900-a "Sermons in Wood."(1974) +l.Source unknown. The Call and Post, 20 March 1982. The Call and Post. 5 January 1980, p. 3A. Columbus Citizen-Journal, (Photo) 2 June 1980, p. 7. "Researching Americana." received (7-81) "Smithsonian Exhibits Pierce's Work."The Columbus Dispatch,27 December 142-44 N. Everett Alley, Cols. (former residence) July 1982 OSU ELIJAH PIERCE RESIDENCES &GALLERY Kojo Kamau 2628-1B Facade (west & North elevations) 142-44 N.

Everett Alley, Cols. Oh July 1982 (former residence) OSU East & North elevations Kojo Kamau ELIJAH PIERCE RESIDENCES & GALLERY 82628-6B3 ONE WAY 142-4 N. Everett Alley & 534 East July 1982 and gallery. Kojo Kamau ELIJAH PIERCE RESIDENCES & GALLERY OSU Long Street, Cols. OH ELIJAH PIERCE RESIDENCES & GALLERY July 1982 Interior (former residence) OSU (former residence) Kojo Kamau 142-44 N. Everett Alley, Cols. Oh 82628-1214 - a man belong's. Where Ellh Pierce 142-4 N. Everett Alley & 534 East Long St., Cols. OH Kojo Kamau July, 1982 West elevation (residence facade) ELIJAH PIERCE RESIDENCES & Gallery OSU 82628-21213 534 East Long St., Cols. OH (galler! July 1982 OSU 82628-7B (inc. 142-4 N. Everett Alley) Gallery facade & East elevation Kojo Kamau ELIJAH PIERCE RESIDENCES & GALLERY 534 East Long St., Cols.

OH July 1982 Rear (north) & West elevations of Gallery OSU Kojo Kamau ELIJAH PIERCE RESIDENCES & GALLERY 534 East Long St., Cols. OH July 1982 OSU Kojo Kamau Gallery interior (west room) ELIJAH PIERCE RESIDENCES & GALLERY 534 East Long St., Cols. OH July 1982 Gallery interior (west room) OSU ELIJAH PIERCE RESIDENCES & GALLERY Kojo Kamau ELIJAH PIERCE RESIDENCES & GALLERY July 1982 Gallery interior (west room) Kojo Kamau OSU 534 East Long St., Cols. OH 534 East Long St., Cols. OH July 1982 Gallery interior (east room) 82628-7A OSU Kojo Kamau ELIJAH PIERCE RESIDENCES & GALLERY 534 East Long St., Cols. OH (Gallery Kojo Kamau July 1982 OSU Gallery interior (east room) ELIJAH PIERCE RESIDENCES & GALLERY 534 East Long St., Cols. OH (Gallery Gallery interior (east room) OSU Kojo Kamau ELIJAH PIERCE RESIDENCES & GALLERY July 1982 ELIJAH PIERCE RESIDENCES & GALLERY 534 E.

Long St., Cols. OH (Gallery Kojo Kamau Gallery interior (new addition) OSU July 1982 534 East Long St., Cols. OH (Galler Kojo Kamau OSU Gallery interior (new addition) ELIJAH PIERCE RESIDENCES & GALLERY 82628-10A July 1982 ELIJAH PIERCE PROPERTIES 534 E. Long St./ 142-22 N.Everett Columbus, Ohio Pierce c/o MAST, 991 Manor In, Col 1970's or 1980's Elijah Pierce, folk artist ELIJAH PIERCE PROPERTIES 534 E. Long St./142-44 N.EVerett A. Columbus, ohio 3 Pierce c/o MAST, 991 Manor Ln, Col: 1970's or a980's Elijah Pierce, folk artist 534 E. Long St., 142-44 N. Everet Columbus, Ohio Pierce c/o MAST, 991 Manor In, Cc ELIJAH PIERCE PROPERTIES Barbershop interior detii l 1970's-1980's 534 E. Long St./ 142-44 N.Everett Columbus, OHio Pierce, c/o MASt, 991 Manor Ln, Cc "Your life is a book & every day Day is a Page", date unknown ELIJAH PIERCE PROPERTIES 1970's-1980's 534 E.

Long St./ 142-44 Everett a. Columbus, Ohio "Long Billed Duck", date unknown ELIJAH PIERCE PROPERTIES Pierce,c/o MAST, 99l Manor Ln, Col 1970's-1980's 534 E. Long St/ 142-44 N. Everett Columbus, Ohio Dates unknown Assorted free standing figures ELIJAH PIERCE PROPERTIES 1970's-1980's Pierce c/o MAST, 99l manor Ln Col SON GOD The ELIJAH PIERCE PROPERTIES : 534 E. Long St, 142-44 N.Everett Columbus, Ohio date unknown 1970's-1980's. "God the Father and Jesus the Son" pierce c/o MAST, 99l Manor Ln, Col: 534 E. Long Street/ N. Everett Columbus, Ohio Pierce c/o MAST, 991 Manor In.,C "The Last Supper", 1930 ELIJAH PIERCE PROPERTIES 1970's-1980's 7.5 MINUTE SERIES (TOPOGRAPHIC SOUTHEAST COLUMBUS QUADRANGLE A. 17 330320 4425725 OHIO-FRANKLIN CO. UNITED STATES ROAD CLASSIFICATION DEPARTMENT OF THE INTERIOR SOUTHEAST COLUMBUS, OHIO GEOLOGICAL SURVEY N3952.5W8252.5/7.5 August 11, 1982 Dr. W.

Ray Luce State Historic Preservation Officer 1-71 and 17th Avenue Columbus, Ohio 43211 Dear Dr. Luce: I am writing in support of the nomination of the Elijah Pierce museum properties in Columbus for status with the National Register of Historic Places. Elijah Pierce is in himself an extraordinary American contribution be preserved as part of our cultural heritage. I feel most his contribution enormous to our understanding of black culture in America. Very truly yours, Associate Director SEVENTEENTH STREET & NEW YORK AVENUE, N.W. WASHINGTON, D.C. 20006 - (202) 638-3211 THE GALLERY CORCORAN OF ART Chio Historical Center institution.He was included inmy important exhibition Black Folk Jane Lifingston would be nothing short of a tragedy. He is an extremely great artist and Art in America: 1930-1980," itself a presentation of an important art strongly that to destroy Mr.

Pierce's shop/gallery and his unique residence August 18, 1982 Dr. W. Ray Luce Columbus, Ohio 43211 Dear Dr. Luce: Street in Columbus, Ohio to the National Register of Historic Places. Mr. Pierce has achieved international Elijah Pierce. I earnestly hope that we will. works. Sincerely, derful regardless of setting, the best setting, the best Ohio Historical Center gallery of collectors, admirers and scholars, and his in their chosen setting and arrangement the works of We are presented with the opportunity to preserve Long Street. works in this powerful and meaningful context.I ask gallery which holds Mr. Pierce's life and art in a single who has complete copies.

urge you to endorse this nomination to insure that History of Art Associate Professor I am writing to support Miss Kathy Mast's nom- experience, and the most complete understanding of State Historic Preservation Officer Margaret Armbrust Seibert status as an artist.His works, the numerous requests setting.It is an art work in itself, a setting for his samples of the work which I have given to Mrs. Pierce, scholar.For two years I have been assembling material match the one which Mr.Pierce has created himself.I Although it is true that Mr.Pierce's art is won- Mr. and Mrs. Pierce have created and built a awards speak for the value of Mr. Pierce's gallery of audiences may always enjoy and study Mr. Pierce's will be available to the public.Enclosed are a few Mr. Pierce's works can be gained from a visit to 534 East ination of Mr.

Elijah Pierce's Gallery at 534 East Long this asa friend and admirer ofMr.Pierce and asa to insure that Mr.Pierce's statements about his own art sonal way.It ismy belief that no other situation can "jewels" which are displayed there in a unique and per- for and exhibitions of them, the visits made to his I-7l and l7th Avenue OUS Size 33 x w. frame Fine Arts, Dec.21- Jan.28, "This is an older piece. It went to Washington and Philadelphia, off tryingto bite off somebody else's. Tape 2B, Oct.31, 1980, numbers 274-327, with J. Seibert Information an ax to cut his tail off. But while that's happening, he's biting Date early 1930's Exhibits gether and grabbed him and pulled his tail across that stump, and got kids laugh at that. Owner Elijah Pierce Art Gallery ous. For example, you got jealous of me and I got jealous of you.

And and other places.Children love it.In the upper left the mother and father are giving baby a bath using the elephant's snout.All the in her hand to swat flies.A baby saw her doing that. While she's talk about that." Pennslyvania Academy of that large because it's.good to lecture from. Three monkeys got jeal- going to hit that fly. I like that. All the kids just laugh when I And in the left hand corner there's a story. I'm going to carve In the right old monkey that ate all she wanted you and I got together and decided to cut his tail off.They got to- another monkey came up and had a longer tail than either of us.So, this one's off.So the moral is, sometimes you get your own tail cut was satisfied and went to take a nap. And here 's a twig she's got Title Monkey See- Monkey Do 2sleep a fly lites on her head. So the baby got a big club. He's Size 36 3/4 x 17:" w.

frame Columbus, Ohio Again. Information Date "I'm positive when I first saw this the frame was blue. Tape 5B, numbers 3-645, May 31, 1981, with Mr. and Mrs. Rich Rich "We were at the gallery the same day as Life Magazine, Good the people of the earth below.He mentioned Judgement.There is Friday of 1980. Jesus is in the middle with the angels on top and man upstairs moved my arm when I carved it. My wife's going to Title Jesus is Coming Again winter 1978 I tried to purchase this through Rene (at Gallery 2oo) but she hectic day.We stayed for several hours.He may have been worn said that Mrs.Pierce would have to be consulted." know what it means. Our daughter counted1o9 faces, or a number near that.He must have spent a long time on this one.It was a sell it to you and I won't go back.I hate to part with it. The a space at the bottom left)with no face.I'd love to 1979 Size little.

He said he felt that badly, but he said 'I promised I'd with 19 in red alone. Sticker on back with #14 Jesus Is Coming out. When we finally said we'd buy it, he started to tear up a be mad. Take it and go out.' " Exhibits Gallery 20o OHIO FOLK ART ASSOCIATION August 23, 1982 Dr. W. Ray Luce Columbus, OH 43211 Pierce, one of the nation's, and particularly Ohio's shown in numerous major museums, including the Columbus in Williamsburg, and many others including recognition President Yours truly, greatest folk artists. 2470 grandin road cincinnati ohio 45208 This organization supports nomination to the National Richard E. Guggenheim in Washington, in a show which travelled to several cities this year. Long Street in Columbus, as well as his residence. State Historic Preservation Officer ideal qualities of American citizenship.

Register of certain structures identified with Elijah His status as a national figure and as Ohio's premier folk In particular, we recommend his barber shop and gallery on It is appropriate and fitting that his accomplishments be Ohio Historical Center As you undoubtedly know, Elijah Pierce's work has been personality serve as an example of integrity and of the Dear Dr. Luce, I-71 and 17th Avenue artist is established beyond question. His character and properly recognized and preserved by the National Register. The Museum of Modern Art in and Cincinnati museums. the Abby Aldrich Rockefeller Folk Art Center New York, ENDOWMENT A Federal agency advised by the National Council on the Arts August 24, 1982 Dr. W. Ray Luce State Historic Preservation Officer Ohio Historical Center I-71 and 17th Avenue Columbus, OH 43211 Dear Dr. Luce, Mr.

Pierce's work has been widely recognized throughout the United States and the world, most recently by his selection as one of the initial fifteen recipients of and walking sticks in his native Mississippi, and over the years has progressed particular figures as subjects of his carvings, through his style of presentation of senting that work to the community from which it is derived. Mr. Pierce's shop and gallery, from the various accounts which I have received, provides not only the in form and function, to traditional Afro-American folk preaching could not take Therefore, I recommend the various structures affiliated with Mr. Elijah Pierce for Robert T. Teske Arts Specialist Historic Places. FOR Sincerely yours, D.C.

20506 his sharing in a traditional Afro-American aesthetic through his selection of Folk Arts Program include more elaborate bas-relief and free-standing figures expressive of religious your most careful consideration for inclusion upon the National Register for place without an appropriate site for such interaction to occur. them and through the spatial arrangement of them within larger compositions. which is presently gaining increased acceptance. the National Heritage Fellowship of the Folk Arts Program of the National Endowment WASHINGTON I have recently learned of the nomination of the residence, former residence and gallery of Mr. Elijah Pierce to the National Register of Historic Places, and I would like to lend my unreserved support to this recommendation. themes or of personal experiences. In all of these works, Mr. Pierce demonstrates aesthetic, Mr.

Pierce merits the title "folk artist" in the strict academic sense In addition to the traditionality of Mr. Pierce's work, it is important to note the setting for the large-scale display of Mr. Pierce's work, but also the situation in place of at least one of the buildings nominated to the National Register in pre- for the Arts.His carving had its beginnings in the traditional forms of canes which it is possible for Mr.Pierce to interpret to an interested community audience the significance of his various"sermons in wood."This connection of his carvings, 727 East Main Street Columbus, Ohio 43205-1796 August 25, 1982 Dr. W. Ray Luce Columbus, OH 43211 Dear Dr. Luce: on the National Register of Historic Places.

Independence Hall, they have been the sites of work of historical and Hall, but rather that Pierce's residence, and especially his barbershop/ are shaped out of the everyday life of local communities, but which can Pierce, the product of an almost century-long life, will gain in signifi- James A. Rhodes, Governor/John Henle, Chairman/Wayne P. Lawson, Executive Director (614) 466-2613 conventional boundaries of traditional religious art and of woodcarving, is Ohio Arts Council Ohio Historical Center significance, geographic distribution, and artistic influence.

It concerns itself with cultural activities and artistic endeavors which State Historic Preservation Officer American practioners, and used them in combination with a particularly cultural significance.I do not suggest that these three structures are I am writing you in enthusiastic support of the nomination of Elijah more, rather than less, important because it is idiosyncratic.He has artistic workplace/gallery, are as significant in the field of traditional Pierce's residence, former residence and barbershop/gallery for inclusion unparalled in the field.

be viewed in terms of larger regional or national patterns of historic architectural significance per se, but because, like Philadelphia's These structures should be.placed on the Register not because of their taken traditional craft techniques, shared by African-American and Anglo- The discipline of folklore was formalized in this country, in the British cance as years go by.Now is the time, however, to place the structures Isles, and on the Continent in the latter half of the nineteenth century. In this context, the work of an artist like Pierce, who has gone beyond the As a professional folklorist, I am confident that the work of Elijah I-7l and l7th Avenue powerful personal religious vision to create a body of work that is simply Sincerely, Dr. W. Ray Luce, August 25, 1982, page 2 TL/rka Traditional Arts Program If you have any questions, please do not hesitate to contact me.

in which the bulk of that work has been created on the National Register, and I urge you to make that recommendation. Timothy Lloyd NATIONAL MUSEUM OF AMERICAN ART Dr. W. Ray Luce I-71 & 17th Avenue Register of Historic Places the residence, former residence, and barbershop/ gallery of Elijah Pierce in Columbus, Ohio. Between November 1981 and tableaux and portraits in wood. Each has its separate identity, like that of a more traditional painting or sculpture, yet each belongs to a larger In many of the published discussions of Pierce's works, a great deal of creation, display and explanation by Mr. Pierce himself.

His barbershop/ gallery, which is open to the public, provides an intimate and revealing survey of the majority of Pierce's efforts, arranged according to his residence anywhere and transform its site into an arena for learning and The three buildings being nominated are all humble in structure yet proud accessible opportunity for the public to encounter this kind of art. the Arts. Ohio Historical Center Hampton Throne in Washington, D.C.,affords a similarly important and Much attention has been granted Mr. Pierce as a carver of powerful, direct 30 August 1982 although not on the scale of the Watts Towers in Los Angeles or The riding armature for Pierce's vision. Dear Dr. Luce: context--the places of residence and work where each had been carved.

sensibility and added to as he has worked in the midst of his materials and State Historic Preservation Office attention has been focused on their integration with the environment of their honor of his receipt of a Heritage Award from the National Endowment of February 1982 the Renwick Gallery of the National Museum of American Art held an exhibition,"Elijah Pierce:Messages in Wood,"and this summer the I am very pleased to lend our support to the nomination to the National in spirit as they reflect the ingenuity of the self-taught artist.It is EIGHTH AND G STREETS, N.W., WASHINGTON, D.C. important for all of us to be reminded that the artistic spirit can take up studio effects.The barbershop/gallery in particular has become the over- naive artists are rural and therefore more remotely located.Pierce's work, tribute to Mr. Pierce's exceptional accomplishment. Charles C.

Eldredge cc: Kathy A. Mast of America's most preeminent folk artists has lived and worked in them with Sincerely, include the three nominated buildings to assure their preservation as a I therefore would strongly urge that the National Register of Historic Places In all three structures, an event of historic importance has occurred - -one endangered by urban zoning and demolition would indeed be a great loss. the intent of spreading his humanely conceived message.To have them Museum of American Folk Art 49 West 53Street New York City 10019 - (212) LT 1-2474 September 7, 1982 Ms. Kathy A. Mast Columbus, Ohio 43221 Dear Ms. Mast: international collections and exhibitions. It is important Dr. Robert Bishop Sincerely, Director RB/1g efforts have contributed substantially to America's cultural Register of Historic Places.

that the American folk artist receive recognition for their 991-B Manor Lane buildings this goal would be furthered. I am writing in support of the nomination of the structures works of art which are included in both national and affiliated with Elijah Pierce for inclusion in the National His unique vision has led to the production of major Mr.Pierce is a major American naive artist whose artistic 727 East Main Street Columbus, Ohio 43205-1796 Dr. W. Ray LUCE I-71 & 17-Avenue residence, former residence, & until the late 'teens when the spine, designating the area as an Mr. PIERCE's former residence and James A. Rhodes, GovernoriJohn Henle, Chairman/Wayne P. Lawson, Executive Director barbershop/gallery. black businesses & residents still riverfront area began to be developed.

Th/16/SPT/82 community in Columbus was located landmarks that physically define OHIO HISTORICAL SOCIETY thriving black community in Columbus barbershop/gallery for inclusion further east, leaving on its original At this time the black population the boundries what was once the on the National Register of presence that far exceeds their west boundry, several vacant lots and I am writing in support of the importance in architectural period State Historic Preservation Office on the river and remained there black community.for more than several intrusion of the I-7l freeway, forcing These structures have a value & decades. Deterioration set in with the settled east, making Long Street its Ohio Arts Council (614) 466-2613 or style. These buildings are Historic Places. energetic & prosperous heart of the nomination of Elijah PIERCE's Dear Dr.

LUCE, In the early l900's the black of the 1920's through the 50's. Columbus, Ohio 43211 Through all these changes, the the barbershop/gallery. Traditionally Mr. PIERCE's properties be recognized "For our children to know, to see, to experience. There's a lot of Coordinator & nomination of these properties for Graphic Designer of Historic Places. in the area why it was important that barbershops were a meeting spot for men, Without hesitation, she answered, that you react in favor to the There was a constant flow of good hair, those same friends still stop spot for folk art enthusiasts -- a my best regards, I asked a friend of mine who grew up The barbershop/gallery is a favorite station on the pilgrimage. that have passed through . alive. This is especially seen in With sensitive consideration, I ask by. And there are new friends too. although Mr.

PIERCE no longer cuts inclusion upon the National Register and hopefully, remain for a time. Micheal MILLIGAN/Design Arts PIERCE properties have stayed friends in & out the door. Even today, and Mr. PIERCE's was no exception. history in there - - - the lives Director Raiph W. Smithers Columbus. Ohio 43215 been submitted for the Elijah Pierce properties (534 East Long Street, 142-44 the past sixty years; and Passed unanimously September 16, 1982. HENRY L. HUNKER, CHAIRMAN 614-222-8172 614-222-7763 RESOLUTION Planning Division Mayor Tom Moody tribution to the black American folk art tradition of wood carving during Historic Places.

HISTORIC RESOURCES COMMISSION That the Historic Resources Commission of the City of Columbus supports the nomination of the three Elijah Pierce properties to the National Register of WHEREAs the nominated buildings are intimately associated with Mr.Pierce's BE IT RESOLVED WHEREAS a nomination to the National Register of Historic Places has productive years; now, therefore 140 Marconi Boulevard The City of Columbus North Everett A1ley and 2290 Margaret Avenue)in Columbus;and Depertment of Development WHEREAS Elijah Pierce has been internationally recognized for his con- September 17, 1982 Dr. W. Ray Luce I-71 & 17th Ave. Columbus, Ohio 43211 Dear Dr. Luce: offering this support, I would remind you that my endorse- ment comes not only as a spokesman for the CLF, but also as a professionally-trained folklorist.

Architecturally, these Elijah Pierce, who is a nationally-recognized practitioner of cede that this is not a conventional nomination, I am just 22 North Front Street - Columbus, Ohio 43215 - (614) 221-0227 Executive Director National Register of the architectural resources associated Columbus Landmarks Foundation evaluated his work, and their conclusions have established Columbus Landmarks Foundation for the nomination to the markable artist.The documentation of the context of Pierce's Ohio Historical Center are the only architectural resources associated with this re- fact that folk artists were not generally considered within based only on these buildings' associative relationship to the mainstream of art criticism until fairly recently should State Historic Preservation Officer and that of the artist.While I am perfectly willing to con- beyond reasonable doubt Pierce's place in American art.

The with the life of Columbus folk artist Elijah Pierce.In art shares an importance coequal with that of the art itself I would like to offer the enthusiastic support of the have no bearing in this instance.Rather, what we have here DLT:rz Singerely, but one which is worthy of listing nevertheless. as strongly convinced that this is not a conventional resource David L. Taylor 128 North Oval Mall Columbus, Ohio 43210 Phone 614 422-0330 September 20, 1982 Dr. W. Ray Luce residence, his former residence and his barbershop/gallery. consideration. carved sculptures and of folk art production during these crucial years.

National Register of Historic Places of three structures associated with Gallery and the Whitney Museum of American Art.Pierce's carved wood These structures would be unusual additions to the National Register because I have been asked to write this letter supporting the nomination to the influences on the development of American art.Pierce's barbershop/gallery Pierce is an internationally known sculptor and one of the major figures the barbershop/gallery, on the National Register deserves further and careful Ohio Historical Center prominence, the possibility of including these structures, and especially University Gallery of Fine Art State Historical Preservation Officer OSU by inclusion in exhibitions at the Museum of Modern Art, the Renwick Police Dog is included in the permanent collection of the Ohio State.Uni- 1940s.During these decades the discovery of folk art exercised important they are associated with a living person.

None-the-less, because of Pierce's Many of Pierce's best known works were executed in the l920s, 1930s and Interstate I-7l and 17th Avenue The Ohio State University Dear Dr. Luce: These structures are Mr. Pierce's in contemporary folk art.His artistic achievements have been recognized with its large collection of his work is a living museum of Pierce's the life and work of Elijah Pierce.T JG/ml JUN 2 8 1983 Ms. Carol Shull, Chief Department of Registration National Register of Historic Places Washington, D.C. 20240 Franklin County, Ohio.

The nomination is an exception to the National As the nomination and supporting letters indicate, these two facts were the enclosed letters that there are a substantial number of historians who view Pierce's work as of exceptional importance within the realm ed the nomination specifically noting that they felt the properties were eligible despite being less than fifty years old, and being asso- I think the issues are well examined in the National Register nomination and would only add that these are the only remaining historic resources associated with Pierce and that that association is very direct in its Elijah Pierce is currently 92 years old. He has produced a body of work cant by scholars. He is unlikely to produce additional works which will require a major re-evaluation of his work and its contribution to folk assistance for the long term preservation of these structures.

Since enclosures individual. importance to his work, and of comparatively long standing (30-40 years). Enclosed is a nomination for the Elijah Pierce properties in Columbus, Ohio Historic Preservation Office largely undocumented part of our national history, and may prove to be an For these reasons, I support the nomination and hope it will be given Dear Carol: ciated with a living individual. (much of it more than fifty years ago) which has been evaluated as signifi- 1100 L. Street, NW examined thoroughly in the nomination process. It is also clear from favorable action at the National Register. State Historic Preservation Officer Ohio Historical Center I-71& 17th Avenue Columbus, Ohio 43211 (614) 466-1500 art.

Listing the structures will not only provide recognition for an important, icance within the past fifty years and are associated with a living Luce Register criteria in two respects.The properties have achieved signif- WRL/BP:jb of folk art.The Ohio Historic Site Preservation Advisory Board approv- November 30-December 30, 1973 Wood Carver Elijah Pierce The Columbus Gallery of Fine Arts E FIERCE Painted Wood Relief Angel Appears to Joseph, 23½x14 Bear, 1973, H. 8¼ Anniversary Flowers, 1970, 18x194 Crucifix, H. 16¼ Book of Wood, 1932, 27x30 Dragon, H. 5 Elephant, 1924, H. 24 Elephant, 1973, H. 10½ The Devil Fishing, 1973, 154x24 Father Time Racing, 13x29 Giraffe, 1973, H. 12 Feed My Sheep, John 21: 15-18, 33x24 Human Society, H. 9¼, Collection Mr. and Mrs. Boris Gruenwald Hunter Resting, H. 9, Collection Mr. William Collection Mr. and Mrs.

Boris Gruenwald, Columbus Humility, 22x18 Images of Man, 244x84 Music Box, H. 9¼, Collection Mr. and Mrs. John Collection Mr. and Mrs. Boris Gruenwald Panther, 1973, H.5 Jesus Feeds the Multitude, 16x29¼ Tiger, 1973, H. 7 John Crying in the Wilderness, 31½x27 Wagon and Oxen, H. 6½, Collection Mr. William Road, 25x24, Collection Dr. and Mrs. Gerhart Martin, Louis vs Braddock, 21¼x23 stuck a pin in, 1973, 14¼x23 Monday Morning Gossip, 33¾x24 Noah's Ark, 1944, 14x33¾ Pearl Harbor, 1941 and 1971, 23x26¾ People Turning away from God Peter's Denial, 35x24 The Power of Prayer and Faith, 1960, 19½x40¾ Pride, 20x24 Slavery Time, 1973, 28/x35 Straining at a Gnat and Swallowing a Camel, 12x11¾ Suffer the Little Children, 19x214 The Twenties, 30½x28, Collection Mr. and Mrs. Francis A. Ruzicka, Columbus Vision of Heaven, 13x294 The Wise Collection Mr. and Mrs.

John Freeman, Columbus Anniversary Flowers (Cover: Detail from Anniversary Flowers) Foolish and Freeman Gruenwald Blakesley Free standing Sculpture Exhibition Checklist 15x29 Burying the Hatchet, 1973, 15x21 Crucifixion, 474x304 Funeral, H. 54, Collection Mr. and Mrs. Boris First Meeting of Jesus and John, 184x184 Blakesley, New Concora, Ohio Lion, 1973, H. 7 Man Crushed by a Snake when the Woman Mother's Prayers (Part 2), 14½x184 Man with the Clean and Soiled Heart, 39x292, Page, 224X2734 Columbus GOD Elijah Pierce was born in the Delta town of Baldwin, Missis- "When I was a boy I was always carving...I'dlook at a tree, sippi on March 5, 1892: "I was born in a log cabin, right out and I could hardly help it, l'd start carving. I carved pictures of almost in the cotton field. I had five sisters and three brothers.

I cows, hogs, dogs, Indians with a bow and arrow shooting, was the youngest of the boys, and I had one sister younger girls' names... most anything I could think to put on the bark than I. There was nine of us and they called me the black sheep. I was the onliest one was that was always into some- "One day I got a little piece of wood and I made an elephant thing, and they could hardly keep me straight. But my father ...and my wife liked it, and she put a ribbon around its neck was the type would take care of me when I didn't do something and put it up on the mantel... and I told her, 'If you like that, I'll right; he was very stern, and what he said, he meant, and got carve you a whole zoo' and started to carve every kind of more whippins tellin' lies tryin' to keep from getting a whippin animal Id ever seen, in pictures, or what I could think of, and than anything else.

from then on, I could see a picture that I liked, or a person "My father was an independent farmer: he loved the farm, would tell me a story, sometimes l'd hear a song, or go to said he couldn't make a living anywhere else but the farm. But church and hear a man preach a sermon, and a picture would he was very successful, always made a good crop, we had form in my mind, and - oh, sometimes it may be four or five plenty to eat, nice bunch of hogs and cows and chickens. weeks, that picture'd come back to me, and I'd get me a piece Three boys and five girls - all loved the farm. But I didn't like of wood and start to carve it. Every summer Pierce and his wife would load the car with "I wanted to see the bright city lights.

I was the onliest one his carvings and travel from town to town, displaying them at that ever left home: when I left home I had one nickel in my local fairs, churches, and shops. Speaking informally, he pocket. I caught a freight train, I slept in boxcars, outhouses, would tell the story of each piece, and explain its moral implica- houses where nobody was livin'. A lot of boys was leavin, tions: "Every piece of work | got carved is a message, a comin' up this way, and some of them helped me get a job. I went to Champaign, then to Danville, Illinois, where I met my but he don't preach some picture I got carved. My wife and I did wife. Her people were in Columbus. In fact I wouldn't have a lot of travelin' with those pictures...Kentucky, Tennessee, came here if it hadn't been for her. I didn't never want to marry back to Columbus.

People would ask me to comment on this When I came here, Columbus was jus a big ole overgrown picture, what that one means. My wife could talk about them country town. I got married the first day I was here and me and near as good as could. We never sold any tickets to our my wife rode right down this street [Long St.] in one of the old program, but everywhere wed go, the programd pay our streetcars. She was a real fine woman, and stopped my wild career; I got down to business because I knew she wouldn't they particularly admired, or received one for a small sum in barbering with a man by the name of John Dixon." Pierce but l enjoy it. I get as much kick out of giving as they do in barbered over on Naghten Street, then on the south side of Long Street, and finally built a shop and house on the north side of the street, where he is today.

Alabama, Mississippi, Kansas, Nebraska, lowa, Illinois, and nobody, and I didn't know I cared for her until after she left. expenses." Admirers and friends were often given a picture What do you think about when you're carving? " was laid out for dead once by not doing what the Good "Well, mostly my mind is on the work. I know how the picture Lord told me to do. My mother and I used to read the Bible should look when it's completed before I start to carvin, and it seems like I can just look in that piece of wood and see the house one evening, and she was sitting on one side of the picture, how it should look, when I get through with it. When I center table, and I was on the other. Sears Roebuck had sent finish...why, I rejoice over it, as though I had accomplished the catalog.. and He laid His hands on my head and I fell my mind for a good while.

Now, I have lots of people that have outta the chair. My mother and sister drug me into my bedroom purchased my work that have asked me to carve another one, and laid me out on the bed; and as they were carryin' me out, I but I can't carve two pictures just the same. It'll tell the same heard the Voice say, told you to read the Bible and you story, but they won't be the same. disobeyed Me, so I'm just showing you My Power. What subjects do you enjoy carving the most? "And the neighbors heard my mother and sister crying, and "Religious work, I enjoy that the most. You know, some there was a house full of people in a few minutes. Some of the words.' And I thought of that book, The Bible: one picture is And I stayed in that condition long enough so that they sent for worth a thousand of those words! So my mind just went thatta the doctor and some were fixing to send for the undertaker.

I way. As I got started carving, I enjoyed it more than any other didn't feel any pain - I went out just like the sun going behind a cloud. Last thing I heard was my mother saying, 'Lord have Did you ever think about becoming a preacher? ing when I came back - just like the sun coming from behind a that if Ijoined the Church, I'd have to preach. That's what I was cloud, and I said, 'Hush, Mother, I know what's the matter runnin' from; I didn't want to preach. But I figured if I was a Christian, I'd have to preach. I have preached. A lotta people right life, He'll talk to you just like talking to a natural man... Vision of Heaven LIVE GOD OBEY every evening after I got through with my chores. I went in the something I wanted to do.

And another picture may not form in great writer once said, "One picture is worth a thousand old-timers came and examined me and said that I were dead "That's my job ... I told my mother before I was converted don't believe the Good Lord will talk to them; but if you live a and you'll understand. "My father was a slave in Mississippi. He was sold four times for sale on the auction block, with a sleeve and a pants leg because he wouldn't let nobody whup him. When the War was rolled up to show their condition; work in the cotton field; dinner over, they wanted him to stay on as a houseboy. But after he time, with the food brought to the slaves in big pails, poured heard that the slaves was free, he just didn't want to stay on into troughs from which they ate with their hands; punish- anymore.

So he just went out; he didn't know where he was ments, the girl strung from a tree, a man being whipped; the goin', he just went. He never knew any of his brothers and white painted overseer's house, the crude slave cabin; and sisters; every time they'd sell him, hed have to take on the name of his new slave master. The name Pierce came from a Sam for what had been promised them - a mule, forty acres, man out of Richmond, Virginia." In Slavery Time, Pierce illus- and fifty dollars. trates the tales told him by his father about slavery: slaves up Slavery Time finally, when Emancipation came, the slaves asking Uncle Elijah Escapes the Mob Once when I was a young man playing ball not far from my come to identify the boy because they had known him, from a home, a colored boy had killed a white man that morning - it child.

So I went to the window; the man looked at me, looked was a Saturday - and the mob was goin" 'round lookin' for this me up and down, asked me to turn around, open my mouth - and he seen them two gold-crowned teeth, and he said, No two gold-crowned teeth in his mouth, and at that time, I did. ...he ain't the boy, but he sure could pass for his twin brother." Now it happened in the meantime that one of the boys with me So they turned me loose, and the man said, 'Now you get outta town, 'cause if this mob see you, they'll kill you on the spot.' It better than I can, you have on a coat.' So I took it. We was fixin' was 18 miles from my home; I knew not to try to go the road, to return home after the game, and the detective walked up to and the train had gone, but he said, 'Get outta town' and I got me and told me to put my hands up.

Now the police had heard outta town - wasn't long 'fore I was at home. That was 18 that the boy was armed; he was padding me down and felt the miles, but in them days I could step along pretty lively. gun, and he jumped back, snatched the gun out of my pocket, "Last year that picture came back to me just as plain as the and marched me down to jail and locked me up. I didn't know day it happened... that rabbit jumped up in front of me, and what they locked me up for. Finally they sent for someone to said, 'If you ain't goin' my way, you better move over!" boy. And the boy was my height, my weight, my color, and had had a gun, and he said, 'Take my gun, Slim, you can hide it After he made the little elephant, Pierce's first carvings were small three-dimensional figures. He and his wife decided to collect them, to mount some of them together on a board, as in The Twenties and Pride.

Later pictures were carved in low relief on a piece of wood. About Jonah and the Fish, Pierce says: "I was a Jonah. Iran from the minister twenty years. I always knew I'd have to preach if I was converted: and this story - I always did like it You see, the Lord told Jonah to go down to preach in Nineveh, but Jonah didn't want to go, because that was a sinful place. So he took a ship in the other direction. A big storm came up, and the people were frightened, they didn't know what to do. They went to find Jonah; he was asleep in the hold of the ship. They throwed him overboard to save the rest of the people.

This big fish swallowed him and he stayed in the belly of that fish three days, and when that fish vomited him up, he was glad to go to Nineveh, or anywhere else that God wanted him to go." Pride Noah's Ark Pierce worked on Noah's Ark for six weeks, in the shop between haircuts, and every night until he completed it. A masterpiece of detail, it includes even a pair of mosquitos. Jonah and the Fish Book of Wood and John the Baptist; Jesus, Mary and John the Baptist." churches of Asia Minor and the thirty-and-three years that working on this for about six months." Reading clockwise from left: "The Birth of Jesus; the Angel appears to the shepherds; the three Wise Men; Mary, Jesus and Joseph on the flight into Egypt; the first meeting of Jesus The Book of Wood was put together around 1932, accord- ing to Pierce.

"I had carved up a lot of pictures, and my wife said, 'Let's make a book, a book of wood,' so we got together Jesus Christ was here on earth. All the pictures represent some of the highlights of His life while He was here. I was pages and thirty-three pictures representing the seven great Book of Wood Reading from left to right: "Jesus turns the water into wine; Jesus tempted by the Devil, and He told him, 'Get thee hence, Satan'; Jesus baptised in the River Jordan by John the Baptist and the Spirit of God descended in the bodily shape of a dove, saying, 'This is My Beloved Son in whom I am well pleased.'" Father Time Racing "There was a champion who'd won every race he'd ever run. One day an old man came along; he heard about this champion and wanted to run a race with him.

The champion said he thought it was ridiculous: 'An old man wants to run a race with me, and I am the champion.' But the old man just insisted. So finally they decided to run the race; the champion just dashed off and went about his business. The old man came on behind; but as they got closer to the end, the old man began to creep up. As they continued, the champion looked around, and the old man was right behind him. And just before they got to the end of the line, the old man went on past, and won the race. And the champion was so undone, he went to the old man and asked him, 'Who are you? Where did you come from?' And the old man said, 'Why son, don't you know who I am? My name is Father Time. I've been running for a long time, and I've never had nobody outrun me." Straining at a Gnat and Swallowing a Camel Nearly everywhere we'd go, people d ask me to talk about this picture...

it represents so many of us.. Monday Morning Gossip Pearl Harbor "Pearl Harbor ... at the time that happened, there was a high official of Japan in Washington talking to Uncle Sam so it won't be so hard to grab it again. But when a person really buries the hatchet, he buries the handle too. They're shaking hands with the right hand, but behind their back in the left hand jects. And there was a missionary lady who had a little mirror is an ax or a knife. And the Devil is behind showing that their she used to tidy up. Now the Queen didn't know about this hearts between them ain't right. They claim to be talking about mirror; she thought she was the greatest and most beautiful peace, but there ain't no peace.

There won't be no peace until woman in the world with all her fine dressing and gold earrings, we recognize the Fatherhood of God and the Brotherhood of but she had never seen herself as others saw her. She saw Man. They're talking about peace, but there's more killing and one of the girls looking in the mirror and wanted to know what it slaughtering and hatred in the human heart than there ever was; so they carried it to her. And she looked in it and saw that was in history. These nations now, they're just saying 'peace,' others were more beautiful than she was - and issued a law but going back and making ammunition and missiles and that if anyone else was caught with a mirror they would be studyin' about peace." themselves as others see them." From taped interviews with Carolyn Jones, 1972-1973.

"There was a queen in Africa who had thousands of sub- "They buried the hatchet, but they left the handle sticking up about some peace.... every other device. They're talking about peace, but they ain't punished to death ... If only some people could see Burying the Hatchet The Devil Fishing"He's caught all of us atone time or another. Painted Wood Relief Angel Appears to Joseph, 23½x14 Bear, 1973, H. 8¼ Anniversary Flowers, 1970, 18x19¼ Crucifix, H. 16¼ Book of Wood, 1932, 27x30 Dragon, H. 5 Burying the Hatchet, 1973, 15x21 Elephant, 1924, H. 2¾ Elephant, 1973, H. 10½ The Devil Fishing, 1973, 15x24 Funeral, H. 5¼, Collection Mr. and Mrs. Boris Father Time Racing, 13x29 Giraffe, 1973, H. 12 Feed My Sheep, John 21: 15-18, 33x24 Human Society, H. 9¼, Collection Mr. and Mrs. First Meeting of Jesus and John, 184x184 Boris Gruenwald Collection Mr. and Mrs.

Boris Gruenwald, Columbus Humility, 22x18 Lion, 1973, H. 7 Music Box, H. 9¼, Collection Mr. and Mrs. John Collection Mr. and Mrs. Boris Gruenwald Panther, 1973, H.5 Jesus Feeds the Multitude, 16x294 Tiger, 1973, H. 7 John Crying in the Wilderness, 31½x27 Wagon and Oxen, H. 6½, Collection Mr. William Road, 25x24, Collection Dr. and Mrs. Gerhart Martin, Louis vs Braddock, 214x23 stuck a pin in, 1973, 144x23 Monday Morning Gossip, 33x24 Mother's Prayers (Part 2), 14½x18¼ People Turning away from God Peter's Denial, 35x24 Slavery Time, 1973, 28½x35 Suffer the Little Children, 19x21¼ Francis A. Ruzicka, Columbus Vision of Heaven, 13x294 The Anniversary Flowers (Cover: Detail from Anniversary Flowers) Columbus Freeman Gruenwald Blakesley Exhibition Checklist Free standing Sculpture Love 15x29 Straining ata Gnat and Swallowing a Camel, Telegram, Hunter Resting, H. 9, Collection Mr.

William Noah's Ark, 1944, 14x33¾ Pride, 20x24 12½x11¾ The Twenties, 30½x28, Collection Mr. and Mrs. Collection Mr. and Mrs. John Freeman, Columbus Foolish Presidentsand Tell-a-Woman, Convicts, Telephone, The Vision of Elijah carvings that are a bold and decorative reflec- tion of his own, deeply religious convictions. "Crucifixion" (1933), like a medieval stone relief, juxtaposes a number of biblical fig- has been running for a long time, and "he's never had anyone outrun him." For almost half a century, Elijah Pierce, who artists, has been producing bas-relief wood- is considered one of America's leading folk "Father Time Racing"(19s0):Father Time, says the 87-year-old-artist New York Tmes Magazine/ 26 ures and events that are linked by the artist to the central theme of sin and salvation. 197 By Gaylen Moor mer's day is already radiating shop in Columbus, Ohio.

The pink holly- 7 salon across the street are still drawn, the iron gate locked tight across for business with two doors and two windows. In one window, "E. Pierce" is painted on the A metal sign with the familiar faded yellow stucco wall outside. In tbe side reads "Elijah Pierce, Woodcarv. The door to the barbersbop is open his usual place, sraiting for what the day will bring. His long, bony frame wooden chair. He moves the chisels and knives, the cans of varnish and paint, paintbrusbes, bottles of red and blue glitter to one end of the table in froat of day is the day most of his old friends or a look at his new carvings. shop was on the main street of Colum- bus's black section, but it and the 7 salon are the only stores left.

Urban renewal has turned East Long Street into a four-lane highway, and Gaylen Moore writes frequently on the Upper left Some of Pierce's free- standing sculpture, which includes a crocodile, left. Abore: A detail of "Universal Man" (1937)with arm outstretched, the sun abore his left hand, the moon above his right, be is at peace with God and the universe. someone wants to go in. seem to thrive on it;sodo the corn and The barbershop is really two sbops, tomatoes out beck. The shades on the y 9:30 A.M. the beat of a sum- off the little bit of sidewalk in the window, but Elijah Pierce is open other window, a placard propped up in- er." That's his gallery. It's closed until Inside, 87-year-old Elijah Pierce sits in es into the familiar contours of his him to make room for his feet. Satur- come by the shop for haircuts or a chat These days, they have to make a spe- cial trip to get there.

In the old days, his The New York Times Magazine/ August 26, 197929 arts. hocks growing by the side of the shop My carvings to live, there are now parking lots and did," says Pierce. "I got tired of that black frame." It's green now, pastel big yellow and white silos and match ing fleet of trucks parked outside. his work, the images are carved in one- the carvings. "You see what it says? The each word in the carving. He turns to hand," be says, offering it. "You're of work I One carving is a self-portrait. The carve is a "My mother and I used to read the Bible in the evening when I got through sermon. I with my chores. One evening, I reached says. His words come slow and low. It Sears, Roebuck catalogue. The good * very sacred.' Dot beautiful. No-a-o-o, sir. I seed to outta my chair.

My mother dragged me into the bedroom and laid me out on the The other carving on the easel doesn't satisty Pierce either. "It's a mean dog clothes another color. Those black and white stripes make him look like a con- The two old-fashioned, red and white barber chairs are empty. A metal soap dish clamped on the arm of one of the nically as proficient as Pierce," say stands ready on the sink. Bob Bishop, director of the Museum of ion. walks of SoHo in New York City last lery hoppers. The streets were full of people. The bell hadm't stopped ringing at the Phyllis Kind Gallery on the cor- who, as head of the Pennsylvania Acad emy of the Fine Arts, arranged tbe "Reviews and Previews," in which one work by each of the artists she repre- and compositions. They are decorative direct, bold and amusing. He uses glit- Just inside the door, there was a came along and gave me a whippin'.

1 message clear. It gives his work an sold that picture, "Slavery Time,' for Wise Men." Phyllis Kind was asking 5950 for it. She had sold some of dollars, and even after the show, she customer? No, it's Estelle Pierce, Eli- jah's third wife, come to see how he is were so important to me, but 1 knew 1 I hold it very sacred." Y.M.C.A. senior citizens' art show in chairs. Any visitors today? she asks a walking stick, or l'd carve something Columbus by Boris Gruenwald, a sculp- right there in the tree." He continued State University. Gruenwaid organized brary. And two guys looking for Joe wyn. In 1924 he settled in Columbus, Pierce's work, between 1971 and 1972 - with a bottle of wine. No, no customer: at the University of Illinois, the Mu- Don't want any. Don't want to move out than it was in the morning. The monoto- Gallery in New York, and the Pennsyl- vania Academy of the Fine Arts.

In sleep. The screen door bangs. Pierce pieces from the rest, but, even so, there work in the Columbus Gallery of Fine self slowly out of his chair. alks, flutters, remains half closed Arts. Now critics and collectors of folk The door to the gallery sticks a little. one just passing by. "What's this?" Brother Blankemeyer, an optometrist, leading folk artists. opens. He turns on the light. The room asks Jeany. "You've changed the color who wants (Continued on Page 34) Every piece Ohio. do me any harm." look nice, but carving again. Pierce's pieces for several thousand message, a immediacy that's very appealing." outside the shop has lulled Pierce to look more hungry." Elijah leans hard against it and it takes time and attention to hear them. 1973, there was an exhibition of his if they don't raised from the dead.

How does that of images are reminiscent of Egyptian Witbout seeming to, Elijah Plerce sented was on exhibit. "Mrs. Jamesin came by to say she'd change his mind and sell them to any- green. All his new carvings have the had to have one.I'd see a piece of wood kept Pierce's work on display. the Borden Milk Company with its two tor and graduate student from Ohio exhibitionsot ner of Spring and Wooster Streets. summer didn't deter Saturday's gal- With his one open eye he regards chairs is full of gray and black curis.A what's the use the easel next to his chair.Like most of 'behind them, studies the two woodcarvings set up on The sun beating down on the side of this chair." carving in his traveis away from Bald. shaving brush in a cup of shaving soap him.She sits down in one of the barber bouse. have a story Obey God and Live. He points to religion and his concept of the impor.

Phyllis Kind was opening a new show, Pierce's strength is based on his that bites the hand that feeds it,"be ex- Iliked ona tree and cutit down to carve where most of Columbus's blacks used of the frame on 'Noah's Ark.' " "Yes, l same green frame. It turns out to be the color of the new coat of paint on his inch relief, tben painted in bright with glitter or Magic Marker. The lack of perspective and the horizontal rows reads faithfully in the newspaper every feel?" A benediction. He points to the behind the gas beater. *1 hid it back hold it across the Bible to look at the new "That's a beautiful man there and I'm bed. I heard a voice say, "I told you to read the Bible and you disobeyed me, so house was full of people, screamin' and said that, and1 saw that picture in my cryin'. They said I was dead. I didn't sun going behind a cloud. Then I came back.

Since then, I'm afraid of the Book of Wood," which illustrates the life of Christ. Lord. My carvings look nice, but if they don't have a story behind them, what's the use of them. Every piece of work I comes alive with color. Flat, bas-relief carve is a message, a sermon. My carv- today in the United States who are tech- woodcarvings of every size cover the walls from floor to ceiling, some as big as 2 feet by 3 feet, some postcard size. A anotber. If I love you and you love me, I of three-dimensional wooden animals won't do you any harm and you won't and figures, each one standing on its own pedestal - cows, lions, horses, a drunken bobo, an angel, a woman in a in the middle of a cotton field in Bald- tance of the individual," says Whitney bathing suit, King Kong, Pete Rose (the baseball player), Archie Griffin (the wyn, Miss., the son of a former slave. He never did like farming.

"When the Ohio State football hero), a dinosaur chasing two kids. Pierce show there. "He reduces what The best place, by the window, is re- be wants to say to the simpiest form there watchin' the birds fly over, think- "The Book of Wood." In 1932, he started ing how could 1 get away from there carving a series of pictures to illustrate ter and all kinds of devices to make his the life of Christ. When he finished, he woodcarving by Elijah Pierce: *Three wife, who died in the 50's, suggested he While Pierce was growing up, he car- The door to the barbershop opens. A glued them onto cardboard pages and now it's the only book of its kind in the world. I wouldn't dare estimate its eaten the fried chicken sbe packed for Jeany Wolf, an Ohio State graduate sents Pierce in New York, looks around That artist Lee Garrett and his wife eral bare spaces on the walls.

A quick It's even botter in the barbersbop at 4 seum of Modern Art's Art Lending pieces are still there - the "Crucifix- Noah's Ark," "Elijah Escapes Dous whoosh of the cars whizzing by pieces," says Mrs. Pierce. "You want Sale" scrawled on it distinguishes these to open the gallery?" Elijah lifts him- tries to open his eyes, but the right eye art consider him to be one of America's also look- like the "funnies" Pierce and be my own boss. Then my mother ried a pocketinife with him wherever Sunday. vict." Service Exhibition and the Danenberg message.

It's what Jesus taught us Pierce's work has been getting such American Folk Art, or medieval stone reliefs.The images is no guarantee Pierce might not "There are 5o0 woodcarvers working value.I love this work.I love all my It is only in the last eight years that survey reassures ber that the major and I got so bot and tired.I'd stand shaking tbe band of a man who was the gallery.She is alarmed to see sey- doing. No,be's not sleepy.Yes,be's seen the article about medown at the li- "Jeany is here to see your new Continued from Page 30 pulls out a small piece of wood from a him tomorrow in church. Pierce, a him, staring at it for a minute, then awake now. The wood chips fall into floor, wbere they mix with Brotber Blankemeyer's hair. The bead of an animal is rapidly emerging from the 1oz Sweet & Sour Lemon. All you do is drink with the incomparable flavor of A Midori Sour. Blend 2 oz.

Sweet & the fireplace. She liked it so much,I us at the address below. And well send you umpteen more ways to make melon very maraschino cherry, and youve got it. The Universe The drink of. From then on, I could see a picture I liked, or a person would tell me a A Midori/Milk. To make one, pour an that won the 1978 U.S. Bar- stary, sometimes l'd bear a song, or ounce of Midori Melon Liqueur on ice and tenders Guild Competition. To mix one up, use ½ oz 1oz vodka, ½oz pistachio smell of soft pine fills the humid air. It with club soda. For a fancy Melon Cooler, flavored liqueur, 1½ oz. does indeed begin to look like a duck, pineapple juice, t2 oz. for the mouth, tben goes over to the vise be has attached to a chest of drawers. With a backsaw be makes a bill, open in mid-quack. "Will I see you in church tomorrow?" asks will, " says Pierce.

tor exhorts, the choir inspires, the strength and purification in the bouse of the Lord," intones the pastor. "I will arise and go to Jesus. Create in sermon in the house of the Lord, every Lord raised me from the dead because be had a program for me. He chose rejoices, the congregation celebrates congregation ELIJAH PIERCE easy to swallow. later." Midori Melon Liqueur Sour mix and 1oz.MidoriMelon Liqueur. satisfied with less than pleasing Midori/Milk Brother Blankemeyer takes a seat n $2.50. and a picture would form in my mind. float an ounce of Half &Half over the top. Sipa Melon. lime juice Shake with mea clean heart....Every truth is a of fresh mint At the Gay Tabernacle Baptist Midori Cooler Reverend Jackson up on the dais with both eyes again. me to display his work in my carv.

carved an elephant for my first wife ings.I got his work to do and I can't be carved every kind of animal I'd ever sign a revelation of his power and de ribbon around its neck and set it on wood. I'd go to church and beer a sermon, nacle Baptist Church, nods and closes old white barber in Baldwyn got sick and hired him to belp out. When the the overflow of customers, sbould while I'm bere," suggests Brother there be any. Neither one of them Blankemeyer. Both Pierce's eyes fly A haircut cost 50 cents then. Brother pants. He reaches under his chair and Pierce's barber chair with almost the same style haircut, 70 years later, for stalwart member of the Gay Taber- edged razor. When Pierce was 16, the goana be," he says. He takes a penknife out of his pock- there," says Pierce. "1 can see it right there in the wood." Elijah Pierce is his lap.

He brushes themn onto the Wich Midori Melon Liqueur. Any way tequila, ½ oz. Midori Melon Liqueur, and you slice it, you've got a better drink. A honeydew. Lighter, more delicious, more riage] for ber birthday. She put a pink refreshing. If you like these recipes, write Strain into a sour glass, drop in a green told ber I'd carve her a whole zoo. I seen, in pictures, or what I could think It might come back to me years "It's a duck," says Brotber Blanke- pour in 1½oz Midori Melon Liqueur, fill meyer. Pierce's eyes twinkle. The with a round belly and tail feathers cil out of his shirt pocket, marks a V Midori Sour - The Universe Church, the tempo picks up. The pes- sign" Elijah Pierce bows his bead "Amazing Grace." Amen. I With The Light Fresh Taste Of Honeyder He gets up. [who died shortly after their mar- coming to a point.

Pierce takes a pen- God." The pastor absolves, the choir Blankemeyer Brotber Blankemeyer. "How about a haircut and shave "You sure blend, pour into a salted glass, and drink. woodbox.He boids it out in front of Elijah Pierce, a Mississippi farm boy born in 1892, the mid-1930s. His carved, freestanding figures and The carver, Joseph Thomas Barta, was born in 1904 on a little farm at Algonquin, Illinois. As a child, when he saw a jackknife with an unusual blade, he bought it. ings. For over seventeen years, Barta worked on the his own private museum. Religious conviction and fre- mental work. Barta relates that when he started The Throughout the creation of "Carved by Prayer," the belong to God, no man could make them." 33 Another 365 (above). Photograph of Elijah Pierce. Date unknown. 199 grew up in an intensely religious family. After be- claimed: "These carvings don't belong to you.

They Last Supper, a voice, speaking in English, but with a "Carved by Prayer" group that has been installed in quent visitations by divine spirits directed this monu- He frequently works on his pieces between haircuts. have seen everything in Rome, Athens and the east. bas-reliefs in wood represent a highly personal inter- pretation of biblical as well as contemporary themes. artist insists he was shown pictures in his dreams and was directed by divine guidance. (Collin Hall) He has used his collection of knives to shape his carv- An elderly lady, when viewing the carvings, ex- visitor to the museum said:"Iam interested in art.I This beats them all.It was given you by God." 34 coming a barber, he settled at Columbus, Ohio, during of Woodcarving) Mrs. Michael D. Hall) today. (Mr. and Mrs. Michael D. Hall) 366 (opposite, below). Story of Job. Elijah Pierce. Columbus, Ohio. 363 (left).

Judas Hangs Self. Joseph Thomas Barta (1904-1972). incidents are among the most beautiful folk carvings being executed Spooner, Wisconsin. Twentieth century. Sugar pine. H. 60". (Museum 1938. Wood, painted. L. 27%". Pierce's representations of biblical Pierce. Columbus, Ohio. 1938. Wood, painted:H. 23x". (Mr. and 364(above).The Man That Was Born Blind Restored to Sight.Elijah FINE ARTS Folk art is individual, vital and democratic. Styles in folk art change much more slowly Because the 1980 Ohio State Fair Featured Folk artists tend to produce works for them- than in fine art. Folk art is traditional. The selves and for people they know. This fea- artists themselves usually do not consider from Ohio Collections" is in the midst of ture immediately charms the viewer with its their work compietely original. In most inst- appealing sincerity.

American Folk Art from ances, the form and content of folk art have these two art factions. We can clearly see Ohio Collections provides the visitor with been passed down through the generations the influence of historic quilts and recent more than a rich array of historic and cur- by word of mouth. However, sometimes quilting. An evolution of painting can be rent folk art, it also allows us to share in the persons learn to make folk art without direct traced from the primitive works of itinerant delight of objects made and used by the influence. Some just "see it, pick it up, like 18th century American painters to the can- it, work hard and achieve success." vases of current expressionists.

Yesterday's One broad category of works on exhibit cess for a folk artist is frequently commun- decoratively twisted iron home implements stems from specific cultural and ethnic ity-based and results from the esthetic ex- groups. These works reinforce the skillls and pression of community values and taste. identities of the group and the artist- Often times, folk artists lack a knowledge of Continual attempts are made to understand member. Examples include Shaker art, art history outside of their indigenous com- American Eskimo and Indian art, and Penn- munities and regional areas. In many ways, duction or appreciation of art is thought to folk arts are cut off from mainstream cul- fill the gap between an inactive and a crea- Birth and Baptismal certificates). ture, shying away from technological prog- tive mind.

Previous generations decorated ress, preferring the oldmethods used by their utilitarian home objects to alleviate works on exhibit. Although the primary pur- their mentors and forefathers. environment-caused boredom. We do the pose of a hunter's decoy, tradesman's sign Fine artists, on the other hand, challenge same as we create and collect art. We have or wooden store figure was both practical established conventions and strive for learned to recognize our indigenous prede- and personal, objects like these are now esthetic uniqueness. Fine arts is often cessors traditional, genuine efforts and their collected and commissioned for their beau- often fine esthetic sense. At last we respect ty alone. The most humble household uten- radically different audience than folk art; and collect day-to-day art. sil takes on special significance when we museums, critics, et al.

In recent years, Folklore passes on our verbal heritage. Folk are aware of its hand-made origin, unique however, there have been numerous ex- art passes on our object and visual heritage. decorations and the special care taken in its hibitions and books devoted to folk art. In- These two together with continued educa- creasing numbers of folk artists are gaining tion and training have resulted in art which Although folk paintings and sculptures are records the past, often can predict the fu- functionally similar to works on exhibit in ties, a fact which has caused many people ture, but always reflects the cummulative the Amateur and Professional Divisions on to re-examine the distinction between folk view in this building, the folk artist's train- and fine art. Yet, for many folk artists there ing and point of view are different. Many never was such a distinction.

In their native folk artists are self-taught, or carry on cultu- communities folk artists are simply known ral and family traditions. Each solves visual que way, seeking to present an experience or idea directly to the viewer. Folk art is not closely aligned with high art fashions and styles or with the current up- surge of designer-craftsmen. It escapes strict labels and high pedestals. It is an essentially private world. Folk art is more like a diary than a history book and provides an inti- mate and personal view of the customs of the ordinary peoples of the past and Margaret M. Armbrust Alan G. Govenar Consultant Richard Aschenbrand AMERICAN FOLK ART FROM OHIO COLLECTIONS Educational Coordinator artists themselves. as artists.

Fine Arts Director communication problems in his own uni- appeal outside their indigenous communi- Functional objects are another category of sylvania Dutch Fracturs (hand-illuminated appear enlarged as today's artistic metal Fine Arts Exhibition American Folk Art the contemporary juried art show it links the need for art and the esthetic.The pro- academically based and geared toward a present. construction. 179. Man, Woman and Child job barbering on Naghten Street. He later Ernest (Popeye) Reed worked in a shop on the south side of Long Street, and finally in 1954 he established his where he is today. However, the barber shop has been transformed to the Elijah Collection of the Artist Pierce Art Gallery. 180. Ringneck Drake Pierce has been a woodcarver since he was Josef Wooster a boy.

"I'd look at a tree and I could hardly help it, I'd start carving." Pierce believes carved and painted wood that he was called by God to be a preacher, but he disobeyed and God has made him carve every sermon in wood that he refused to preach. 181. Blue-Winged Teal narrative scenes which depict biblical pas- sages, personal reminiscences, Black his- tory, and life in the Black community. Throughout his life Pierce has had an im- portant role in the Black community, as a barber, devout Christian, and artist. 182. Ruddy Duck, Drake in In the 1970's Pierce built an international reputation. With the help of OSU student Boris Gruenwall, Carolyn Jones and others, 189. Man and Woman Pierce began to show his work outside the Black community. In 1973 he won first "naive art" in Yugoslavia. His carvings Collection of the Elijah Pierce Art Gallery Museum of Art, and other galleries in Col- 190.

Snake umbus, New York, Philadelphia and Washington, D.C. 183. Mona Lisa Elijah Pierce and Leroy Almon 191. Man Riding Bird 184. Patlife of Shongo and Oya Baba Olubala and Brenda Ameni 192. Black and Orange Tiger 185. Woman Caught in Adultery 186. Crucifixion Elijah Pierce was born on March 5, 1892, the son of a former slave, in the Delta town of Baldwin, Mississippi. He had five sisters and three brothers: "There was nine of us and they called me the black sheep of the ways into something, and they could hardly keep me straight." As a young man, Pierce left home to "see the bright city lights" with a nickel in his pocket. He caught a freight where nobody was living." After a while he 188. Long Bib Duck found work in Champaign, Illinois, and then went to Danville, where he met his first wife, whom he married in Columbus, Ohio in 1924.

In Columbus, Pierce got a Privately Owned 114 187 213 188 1979 1977 $500.00 1978 $650.00 $250.00 $450.00 $125.00 Robinson $2000.00 sandstone Courtship Display NFS wood painted wood Elijah Pierce Many of Pierce's carving are story-boards, prize in an international competition of family. I was the onliest one that was al- have been exhibited in the Columbus C.1976 own business on the north side of Long, train, sleeping in boxcars, outhouses, 1930 5" × 24" 48" × 30½" 193. Man with Cane 203. Hooded Merganser Drake 210. Italienerin Joseí Wooster reverse painting on glass carved and painted wood Collection of Sally and Pete Riffle Collection of the Elijah Pierce Art Gallery Collection of the Artist 211. Nest of Tin Cookie Cutters 194. Horse 19th century 212. Crow 195. Fish Collection of Mr. and Mrs. Edward M. - 196. Horse and Bird 197. Popeye 214. Three Hoop Snakes Racing 204.

Drake Wood Duck 198. Abraham Sacrifices his Son 215. Young Girl 205. Bufflehead Drake 199. Woman 216. Lady with Lace Collar oil on canvas 206. Calling Blue Goose S450.00 217. Augustus H. William 200. Frog Inscribed back: William, Augustus H., 207. Mr. Edward McGuire John W. Dodge June 19, 1878 oil on ivory 201. Eagle 218. President Van Buren 208. Mrs. Sarah F. McGuire 219. George Washington 202. Noah's Ark 209. Napoleon as a Youth 204 $95.00 1944 1980 1979 1976 1978 $275.00 1975 1977 182 $175.00 $525.00 1830-40 1830-1840 1767-1828 $350.00 watercolor Hagemen NFS c.1880 213.

Jumping Frog Elijah Pierce C.1820-1830 Captain in Royal Navy Privately Owned Ed Hageman pastel on paper painted wood C.1835 tin Dispatch photo by Fred Shann Columbus woodcarver Elijah Pierce with his artwork barber chair, left over from the 24 years By Kathy Gray Foster and his tall, lanky frame needs the restful hood home in Baldwyn, Miss., a log cah for 69 years, until he retired after a hip arms of a blanket-padded chair. where he was born in 1892. In more rece Near the chair sits Pierce, stooped over face of Martin Luther King Jr. and fre into a 6-inch high dog he has carved "I've been carving since I was 8 or 9 years old," he says, his eyes remembering tells his stories. plaques and photographs honoring tr catfish in the creek, roses, my girl. Why, I took him past the eighth grade primitive-style artist.

Another is Pierce's thought a pocket knife was about the best But never mind his lack of formal ec "I DONT like to carve anything de- him, among other honors, as a doctor He moved to Columbus in 1924 and liefs, Pierce and his wife, Estelle, have shown his works nationwide. Sunday, he National Endowment for the Arts, wh ship as one of 15 master traditional arti Noah's Ark, a laquered wood relief carved tist Church school, 2271 D. 5th Ave. in 1929 of the ark surrounded by a forest of Earlier in the week, The Dispatch visit- The work demonstrates how his art is indelibly entwined with his deep religious Pierce's gallery walls are crowded with says simply. "I feel lonesome if Im cation. Fame. Pierce would have continued carving. Archie Griffin. have been heaped upon him since time was entirely occupied with carving.

Woodcarver shapes a legend dog figure he's carving or gestures as he animal pairs. a small work table dabbing black paint well-known Bible stories. in July. fine arts at Franklin University and standing statues of such sports stars self-made artist whose education nev made those hands. These hands are just one aspect of the was honored for his many awards at a works were shown in the early 197 HIS EARLYworkswere populated by Another hanging piece shows his bc But the oversized hands of Columbus injury in 1978.

reception at Ephesus Seventh Day Adven- Known for his story-telling wood re- But with or without the awards t Perhaps his most prestigious awa religious debt to the Master Carver who member of the Ohio Senior Citizen Hall "I love it and put my life into it, worked full time as a barber.But his spare His voice has become low and raspy Dispatch Staff Reporter The most prominent object in the front awarded him a National Heritage Fello talent which has made Pierce a famous was a picture in my mind on the trees room of the three-room gallery isn't a numerous figures telling a story, such as Pierce barbered on the spot. BARBERING was Pierce's second art working on something. a plaque from the folk arts program of Long St.for a view.of the artist amidst his THE WALLS also are covered wil times,he has carveda wood relief oft ed Pierce in his cubbyhole gallery at 534 E. barbering.

So Pierce swept up for the local The next best thing, he decided, was strong - constantly in motion as he jig- take it away from me. thing I'd.ever seen gles his cane, slices a piece of wood off a Jesus, and hand-framed reliefs depictir a childhood scene. "I'd carve anything that grading," he explains. "I wouldn't spoil the barber and, by the age of 16, was a travel- talent God gave me, because I believe He'd work of art. It is an old-fashioned metal religious carvings of boldly colored angels art. woodcarver Elijah Pierce,90,remain ing barber. Columbus folk artist Elijah Pierce was Recognition of this Ohio folk artist among the first 15 artists in the coun- comes at a time when the traditional try to receive the National Endow- and folk arts are experiencing a ment for the Arts' National Heritage nationwide renaissance. A national Fellowship on July 3.

Certificates and leader, the Ohio Arts Council offers a cash awards were presented through unique and comprehensive Tradition- the NEA Folk Arts Program to the al Arts program which includes the honorees in Washington, D.C., as following components: Traditional & part of the Festival of American Ethnic Arts Grant Awards, Research & Development, Folklife in Education and the Ohio Arts Council/Ohio Elijah Pierce, 89, has worked as a Humanities Council Joint Program in barber for most of his life. In the past Folk Art & Culture. decade, however, his life-long voca- Folk artist Elijah Pierce. tion of woodcarving has brought him Photo by Rick Kocks. national recognition. It is no surprise that his former Columbus barber shop has become a gallery for his artwork.

A self-taught carver and painter, Pierce's work is dominated by Biblical - themes, and his "sermons in wood" reflect the impact of religion on the traditions of the Afro-American cul- ture. Other pieces are inspired by personal experiences, current events and legends. Pierce's work was first shown in an art context in the early 1970s.

Since that time, he has been the subject of various films and magazine articles; his work has been exhibited nation- ally; and he has been the recipient of prestigious awards, including the First Prize at the International Meeting of Naive Art in Zagreb, Yugoslavia, in Within the past year, Pierce's work has been exhibited at the Smith- sonian Institution's Renwick Gallery, Washington, D.C.; displayed on a billboard in Columbus as part of a Greater Columbus Arts Council pro- ject; featured on the OAC's Autumn & Winter Service Organizations Calendar; and highlighted in an illus- trated article about the folk artist in the June/July 1982 issue of American 1973. Minority Arts Today Folklife. Craft magazine. 116 Born 1892, near Baldwyn, Mississippi He was given his first job as a barber at age sixteen, when an elderly white Monday Morning Gossip, 1935. Carved and painted wood, 33½ x 24".

The Hall Collec- tion of American Folk and Isolate Art, Bioomfield Hills, Michigan. Cat. no. 201. woman who was to become his second wife. He resisted marriage, and she 117 barber and the preacher, but his life-long vocation has been woodcarving. Elijah Pierce Lives in Columbus, Ohio says, he began a period of wandering. He worked on bridge gangs for the living, as Pierce tells it, when he dressed well, played the piano and liked where he was again working as a barber. There, in about 1924, he met the facing page: Elijah Pierce has had two principal professions in his lifetime, those of the married his first day in Columbus and Pierce has lived there ever since. railroad and obtained passes which took him to places such as Memphis left him to return to her family in Columbus.He followed her there, telling barber in Baldwyn hired him as an assistant.

When the man died, Pierce wife after a year of marriage in about 1916. Not long thereafter, Pierce and St.Louis. He also rode the rails as a stowaway.It was a time of fast By the early twenties, Pierce had found his way to Danville, Illinois to dance. continued to manage the shop-this lasted until the death of Pierce's first Pearl Harbor and the African Queen, 1941 Carved and painted wood, 23% x 26%". The Hall Collection of American Folk and Isolate Art, Bloomfield Hills, Michigan. Cat. no. Crucifixion, 1940. Carved and painted wood on painted wood panel, 47 x 30½". The no. 203, 118 204. facing page: Elijah Pierce Art Gallery, Columbus. Cat. 119 He worked for thirty years for other barbers, but in 1954 built his own third wife, Estelle. Pierce realized early in life that he was called to preach, but says he and that year he was awarded a preacher's license by the Mt.

Zion Baptist story behind them, what's the use of them? Every piece of work I carve is Bible. Across from him, his mother was looking at a new Sears, Roebuck chair .. I heard a voice say, 'I told you to read the Bible and you disobeyed me, so I'm just showing you my power.' The house was full of people Biblical stories. These include Noah's Ark, Jonah, The Story of Job, Elijah, Leroy Brown, 1970s. Carved and painted mounted in its present form. The Book of Wood was completed over about wood, glitter and rhinestones, 19¾ x 10¼" Phyllis Kind Gallery, New York and Chi- a six month period in 1932. It includes 33 separate scenes from the life of cago. Cat. no. 219.

Christ ("one each for the years of His life"), mounted on seven sheets of pack a selection of these carvings into his car and travel throughout the Pierce and his wife in ecclesiastical robes, holding microphones and done hundreds of animals since: some are depictive-alliigators, tigers, the Monkey Family, is in several scenes: in one, the monkeys bathe their Others of the works are autobiographical. Pierce was born on a farm in variation on this theme. Pierce disliked farming, as revealed by the 120 standing in front of his carvings. while he was still living at home in Baldwyn when he was reading the a message, a sermon.' preparing to swat a fly off their sleeping mother's head. These are the young in the spray of an elephant's trunk; in another, the young lean over, the monumental Crucifixion and The Book of Wood.The former was employment. It was this that led to barbering.

horses, dinosaurs; others are fantastical or fabled. An example of the last, Live. Pierce has depicted numerous other religious subjects, particularly northeastern Mississippi;his father was an ex-slave who was nearly sixty unhappy figures in Picking Cotton, and early in life sought alternative Midwest with them, using them to illustrate the sermons he gave at going behind a cloud. Then I came back.

Since then, I'm afraid of the carved in numerous small, individual pieces in 1933 and only later county fairs, schools and churches.A photograph from those days shows and The Three Wise Men.A preacher hardly gets us in the pulpit without Church in Baldwyn.Though his preaching sometimes took the conven- in works titled Slavery Time;Picking Cotton in this exhibition isa The religious aspect of Pierce's work reached an apogee with two works, Lord.This incident is memorialized in a carving titled Obey God and crafty, capable animals that appear in folk tales of the signifying monkey." politicians (Nixon Being Chased by Inflation). One of these messages concerns his own rebirth.He recalls an evening when Pierce was born. The experiences of his father's life were depicted recalls making as an adult was a small elephant for his wife.Pierce has resisted it for many years.

By 1920, however, he had embraced this role .They.said I was dead. I didn't feel any pain. I just went out like the sun shop.His second wife died in the mid-fifties;he is now married to his preaching some picture I got carved," he proclaimed to a writer in 1975.3 carvings look nice," he told a reporter in 1979, "but if they don't have a cardboard bound together by string. In his younger days, Pierce would Pierce's work also has its secular aspect. Indeed, the first carving he tional form, it also found expression in many of his woodcarvings. "My Pierce has also depicted sports figures (including Louis vs. Braddock) and Louis vs. Braddock, c. 1950. Carved and painted wood, 21½ x 23". Jefirey Wolf and Jeany Nisenholz-Wolf, New York. Cat. no. community both as an artist and as an orator.

His work was first shown Galleries, New York (1972); the Pennsylvania Academy of the Fine Arts, Phyllis Kind Gallery, New York (1976). More recently, it was included in "Transmitters: The Isolate Artist in America" at the Philadelphia College 1. Quoted in Gaylen Moore, "The Vision of Eliiah," The New York Times Magazine (August 26, 1979), p. 30 2. Moore, p. 30 3. Quoted in Elinor Horwitz, Contemporary American Folk Artists (New York: ].B Lippincott Co., 1975l, p. 88 Wondrous Woodcarvings, " The W'ashing- ton Post (March 21, 1976), p. G1 121 208. been the subject of several films and national magazine articles and has in an art context in the early seventies in solo exhibitions at the Hopkins Meeting of Naive Art in Zagreb, Yugoslavia. shop into the Elijah Pierce Art Gallery.

They receive visitors from the local community and from the rest of the nation and abroad;Pierce has I didn't even know I was an artist 'til they told me,"Pierce said in a considerable audience in the art public.He is revered in his own Museum, University of Illinois, Urbana (197l);the Bernard Danenberg Philadelphia (1972);the Columbus Gallery of Fine the Hall Gallery, Ohio State University, Columbus (1971); The Krannert Art of Art (1981).In 1973,Pierce received First Prize at the International 4. Quoted in Michael Kernan, "Piercing.