James Son Ford

A strong and compelling work by James 'Son Ford' Thomas with the red paint smears being the result of Thomas, with paint-soaked hands, picking the head up and leaving his handprints upon its' face. The sculpture's bald head is boldly signed "In Leland [Mississippi] James Thomas 1984."

James 'Son Ford' Thomas was a remarkable American folk artist known for his distinctive and deeply personal approach to art.

Born in 1929 in Mississippi, Thomas spent much of his life working as a laborer before discovering his passion for creating art in his later years. His art was deeply rooted in his African American heritage and his experiences growing up in the American South. Thomas primarily worked with "gumbo" clay which is unfired and was sourced locally in Leland, Mississippi.

His work reflected his unique perspective on life, spirituality, and the human condition. His work often featured references to the blues music that he was also known for. Thomas was included in the seminal exhibit, Black Folk Art in America, 1930-1980, Corcoran Gallery of Art, Washington, DC, January 15, 1982 - May 15, 1983, and his work is part of numerous private and public museum collections.

Provenance: Private Collection, NYC

George Ohr (1857-1918)

Cup, 1895

4 3/4″ × 5 3/4″ | 12.1 x 14.6 cm

$6,800

George Ohr (1857-1918)

This large George Ohr mug features a large snake/serpent that wraps itself halfway around the body. The body of the snake is Glazed earthenware with large serpent, reddish speckled burnt sienna glaze, olive interior heavily scored to represent an exaggerated slinking of the reptile. Ohr regarded himself as an artist and his work challenged the utility of the ceramic craft, he aimed to create intimate sculpture that challenged traditional notions of pottery.

Circa: 1895
Size: 4 3/4" × 5 3/4" | 12.1 x 14.6 cm

Ohr, widely known as the "Mad Potter of Biloxi," was a remarkable artist whose innovative pottery approach challenged his time's conventions. His journey as an artist eventually led him to become the most influential figure in American ceramics.

Ohr's artistic legacy extends far beyond his pottery —his daring and unorthodox approach to art continues to inspire contemporary artists.

Provenance: Collection of Dr. Ellis F. Rubin and Suzanne Borow Rubin.
Condition: Excellent.

"God put no color or quality in souls, so l'll put no color on my pots." -George Ohr.

In Ohr's later phase he largely abandoned glazing as he felt it interferred with the sculpture of his pottery. This remarkable example features Ohr's in-body twist and ruffled rim— it's beautiful in its movement. The bottom is highly inscribed and importantly, it informs us that the pot was made from mud collected from the streets of New Orleans (where he apprenticed as a production potter), its date, "1905," and it is inscribed "Times Democrat" which was a New Orleans newspaper and here Ohr hints at his progressive political leanings. Ohr, widely known as the "Mad Potter of Biloxi," was a remarkable artist whose innovative pottery approach challenged his time's conventions. His journey as an artist eventually led him to become the most influential figure in American ceramics. Ohr's artistic legacy extends far beyond his pottery - his daring and unorthodox approach to art continues to inspire contemporary artists.

Provenance: Collection of Dr. Ellis F. Rubin and Suzanne Borow Rubin
Condition: Excellent.

Visionary Spiritualist Drawings

Visionary Spiritualist Drawings, a group of Nine, dedicated to Earl who is tasked with bringing light and love to Earth

Dated from December 21, 1952 to March 14, 1953

Size: Each 12" x 18" (one is double sized at 12" x 36")

This exciting body of spiritualist work that combines Christianity, transcendentalism, sci-fi, and cosmology. The series consists of nine drawings, each 12″ x 18″, dated from December 21, 1952, to March 14, 1953. Found in upstate New York.

Drawn and annotated in colored pencil (one with a blue pastel ground), the narrative throughout is compelling and addressed to someone named “Earl,” who is tasked with bringing light and love to Earth. Several drawings illustrate light rays from the cosmos converging on a single point on Earth with notations, e.g., “Heart of the cosmic Emmanuel with its Christ placenta & water of the fountain of life it IS the Fountain.” And others with tracery-like flowers, noted, e.g., “Pipe-cable from god. Bearing the water of the fountain of life. Christ aorta with life in full for the obedient of those who love God.”

One drawing with a blue pastel ground and a yellow six-pointed star (like David) is entitled on the back, “Flag of The City of God. The One True Theocracy.”

The ninth drawing, spread over two pages, illustrates a graduating overflowing fountain from the heavens onto Earth and is annotated, “Look inside our column, Earl, Heaven...Bosom of God. The wings of perfect love. The electric diamond eye of god. The sword of truth. The key to life, to the kingdom of god - all these are yours, Earl, & the fountain of life!