Just Folk Art Gallery
You will see below that the objects listed on Just Folk Art include paintings, works on paper sculpture, found art, outsider art, African colonial works, and much more. The prices vary from $100 up to several thousands. Occasionally, if we find objects that are more expensive that should be included, they will be on the site as well. The gallery has not listed prices because we want interested buyers to contact us. We hope you enjoy these objects as much as we have.
  Betty Brown Strawberry Picking, 1999 *
Paint on canvas board
Ht. 20" W. 16"
Betty Brown (b. 1932)
"Betty Brown was born in Maysfield, Georgia, and is a memory painter. She also contributes to the painting of the assemblages made by her husband, Rutherford "Tubby" Brown." --Self Taught, Outsider, and Folk Art By Betty-Carol Sellen with Cynthia J. Johanson




  Betty Brown Winter Scene, 1994 *
Paint on canvas board
Ht. 18" W. 14"
Betty Brown (b. 1932)
"Betty Brown was born in Maysfield, Georgia, and is a memory painter. She also contributes to the painting of the assemblages made by her husband, Rutherford "Tubby" Brown." --Self Taught, Outsider, and Folk Art By Betty-Carol Sellen with Cynthia J. Johanson




  Betty Brown Picking Cotton, 1998 *
Paint on canvas board
Ht. 20" W. 16"
Betty Brown (b. 1932)
"Betty Brown was born in Maysfield, Georgia, and is a memory painter. She also contributes to the painting of the assemblages made by her husband, Rutherford "Tubby" Brown." --Self Taught, Outsider, and Folk Art By Betty-Carol Sellen with Cynthia J. Johanson




  Betty Brown September 11, 2001 *
Paint on canvas board
Ht. 20" W. 16"
Betty Brown (b. 1932)
"Betty Brown was born in Maysfield, Georgia, and is a memory painter. She also contributes to the painting of the assemblages made by her husband, Rutherford "Tubby" Brown." --Self Taught, Outsider, and Folk Art By Betty-Carol Sellen with Cynthia J. Johanson




  Sybil Gibson Watercolor, 1992 *
Watercolor on paper
Ht. 17 7/8" W. 11 3/4"
Sybil Gibson was born February 18, 1908 in Dora Alabama. Her father was a prosperous coal mine operator but she lived most of her adult life in poverty. Sybil was college educated, an elementary school teacher, a mother of one daughter, interested in real estate and the financial market. She began paining in November 1963 at 55 years old when she became enchanted with a piece of gift wrapping paper in a downtown Miami Florida store. When she picked up a brush to create her own wrapping paper with materials at hand ... tempera and brown paper bags ... she was seized with a compulsion to paint that lasted three decades.

Her difficult years, in which she was beset by health and financial problems, pushed her to the braking point and in 1971, just after her work had attracted the attention of the Miami Art Museum, she returned to Alabama. In Birmingham she lived in a seedy hotel, continued to paint, received high praise from critics, but sold few paintings. In 1981 she moved to a home for the elderly in Jasper Alabama. Finally she moved to a facility in Florida where she was closer to her daughter. An operation restored most of her sight, and she was able to keep working on her art. Her pictures most often depicting people, animals and sometimes flowers, are painted with tempera and house paint on paper bags and newspaper.

The subtlety of color and impressionistic quality comes from her practice of wetting the bag or newspaper and painting the image before the bag or newspaper would dry.

Sybil died in a nursing home January 2, 1995 in Dunedin Florida. Her work is in many museum collections including the Birmingham Museum of Art, the Fayette Art Museum, the Montgomery Museum of Fine Art, the New Orleans Museum of Art, and the Museum of American Folk Art. --Detourart.com




  "Explosie A Blac Hool" *
Paint on paper
Ht. 24" X W. 24"
Ionel Talpazan was born in Petrekioaia, Romania, in 1955. He was raised by foster parents in a rural village of Miineasca. When he was eight years of age, playing in the woods near his village, he was surrounded by a beam of blue energy from a gigantic flying saucer.


He escaped to the West in 1987 by swimming the Danube River during the night. For a time he stayed in Belgrade, Yugoslavia. He was recognized as a political refugee and allowed to emigrate to the United States.

He came to New York City and worked as a street vendor. He now lives in an apartment on the upper west side of the city. His walls are covered floor to ceiling with images he has drawn of flying saucers.


Since that childhood experience Talpazan has drawn lots of UFOs. Many of his drawings are cut-away diagrams of flying saucers, with elaborate details of their insides, and particular attention to the propulsion systems. Energy flow patterns, power plants, and discharge points are all carefully laid out in beautiful colors.


Other works of Talpazans include paintings of outer space scenes. Some have a single UFO taking off from a planets surface, others detail many saucers apparently involved in a war or flying into some sort of worm hole in space. Some paintings depict many planets and galaxies.


His paintings and drawings often have writing describing the details of the picture. All of his works are signed and dated, including the actual day, month and year, as well as where they were created. His flat works often have a unique scene depicting the Statue of Liberty with flying saucers printed on the back or a hand print in earlier works to insure their authenticity.


Talpazan is currently working on a huge plaster saucer. It takes up a significant part of his livingroom/studio. He has also made flying saucer sculptures, some about fifteen inches in diameter, and six inches tall, and smaller ones with twelve inch tall pedestals about six inches in diameter. The plaster is relief carved with lines and other details, and then painted. Some of the small saucers are decorated with costume jewels.


The first public attention brought to Talpazan was when Jay Tobler discovered him selling work along the sidewalk by Central Park. Tobler wrote an article titled, "Ionel Talpazan: Traveler in Space", which was published by Folk Messenger Magazine in the Spring 1990 issue. Since that time Talpazan has been written up in many publications, including the New York Times, Wired Magazine, and been on television several times.
Design 1997




  "Lord Love You" on tin *
Paint on tin
Ht. 7" W. 23.5"
"R.A. Millers tiny chocolate brown house sits on a muddy hill overlooking Old Cornelia Highway in unincorporated Rabbittown, just outside of Gainesville. The buildings inner skeleton slumps with age and the outer walls look puffy and waterlogged...

All around the structure the folk artist used to nail his works, most of which were awkwardly proportioned cut-outs, tin-snipped from thin metal. When a visitor would find something he wished to purchase, Miller would lift a pair of pliers from his paint-smeared trousers and free the work from the nail that held it to his house.
A tall, solid, bespectacled man with an ever-packed lower lip full of "gentle mild" snuff, Miller then added his signature in wavy cursive with a paint pen, sometimes also adding a mildly mischievous admonishment. "Hes loose, aint he," the artist might say, handing over a deep blue devil. "Raidin the country, killin, lootin, doin everything but the right thing... No dont let that thing get ya!"
...R.A. Miller dropped out of school when he was 12 to go to work in a cotton mill. He retired at 65 after his sight went bad due to glaucoma. To keep busy, he started making whirligigs, spinning wind toys he used to fashion as a boy. "I never did think nothin about it [making art] when I could see," he explains in oh-so-folk-art logic. "I got to where I couldnt drive and couldnt go nowhere... I just got to doin this to have something to do."
Renown soon came to Rabbittown via the Athens music express. In 1984 R.E.M. spliced images of Millers whirligigs into their video for "Pretty Persuasion." Incidentally, that song was off the "Reckoning" album, whose cover art was a Stipe/Finster folksy collaboration. "R.E.M. bands from Athens was the first ones even to come," says Miller, who as a result of the exposure became known to many as The Whirligig Man. "They still come up here every once in awhile."
Millers breezy pieces soon became a hip commodity as the Stipe-inspired folk art contagion infected Athens, first inside and then out....

Sadly, R. A. passed away on Tuesday, March 7, 2006 at the age of 93. --Detrourart.com




  " Lord Love You" - Dinosaur paint on tin *
Paint on tin
Ht. 6.5" L. 20.5"
"R.A. Millers tiny chocolate brown house sits on a muddy hill overlooking Old Cornelia Highway in unincorporated Rabbittown, just outside of Gainesville. The buildings inner skeleton slumps with age and the outer walls look puffy and waterlogged...

All around the structure the folk artist used to nail his works, most of which were awkwardly proportioned cut-outs, tin-snipped from thin metal. When a visitor would find something he wished to purchase, Miller would lift a pair of pliers from his paint-smeared trousers and free the work from the nail that held it to his house.
A tall, solid, bespectacled man with an ever-packed lower lip full of "gentle mild" snuff, Miller then added his signature in wavy cursive with a paint pen, sometimes also adding a mildly mischievous admonishment. "Hes loose, aint he," the artist might say, handing over a deep blue devil. "Raidin the country, killin, lootin, doin everything but the right thing... No dont let that thing get ya!"
...R.A. Miller dropped out of school when he was 12 to go to work in a cotton mill. He retired at 65 after his sight went bad due to glaucoma. To keep busy, he started making whirligigs, spinning wind toys he used to fashion as a boy. "I never did think nothin about it [making art] when I could see," he explains in oh-so-folk-art logic. "I got to where I couldnt drive and couldnt go nowhere... I just got to doin this to have something to do."
Renown soon came to Rabbittown via the Athens music express. In 1984 R.E.M. spliced images of Millers whirligigs into their video for "Pretty Persuasion." Incidentally, that song was off the "Reckoning" album, whose cover art was a Stipe/Finster folksy collaboration. "R.E.M. bands from Athens was the first ones even to come," says Miller, who as a result of the exposure became known to many as The Whirligig Man. "They still come up here every once in awhile."
Millers breezy pieces soon became a hip commodity as the Stipe-inspired folk art contagion infected Athens, first inside and then out....

Sadly, R. A. passed away on Tuesday, March 7, 2006 at the age of 93. --Detrourart.com




  "You Wont Burn This Flag" paint on tin *
Paint on tin
Ht. 13.5" W. 19"
"R.A. Millers tiny chocolate brown house sits on a muddy hill overlooking Old Cornelia Highway in unincorporated Rabbittown, just outside of Gainesville. The buildings inner skeleton slumps with age and the outer walls look puffy and waterlogged...

All around the structure the folk artist used to nail his works, most of which were awkwardly proportioned cut-outs, tin-snipped from thin metal. When a visitor would find something he wished to purchase, Miller would lift a pair of pliers from his paint-smeared trousers and free the work from the nail that held it to his house.
A tall, solid, bespectacled man with an ever-packed lower lip full of "gentle mild" snuff, Miller then added his signature in wavy cursive with a paint pen, sometimes also adding a mildly mischievous admonishment. "Hes loose, aint he," the artist might say, handing over a deep blue devil. "Raidin the country, killin, lootin, doin everything but the right thing... No dont let that thing get ya!"
...R.A. Miller dropped out of school when he was 12 to go to work in a cotton mill. He retired at 65 after his sight went bad due to glaucoma. To keep busy, he started making whirligigs, spinning wind toys he used to fashion as a boy. "I never did think nothin about it [making art] when I could see," he explains in oh-so-folk-art logic. "I got to where I couldnt drive and couldnt go nowhere... I just got to doin this to have something to do."
Renown soon came to Rabbittown via the Athens music express. In 1984 R.E.M. spliced images of Millers whirligigs into their video for "Pretty Persuasion." Incidentally, that song was off the "Reckoning" album, whose cover art was a Stipe/Finster folksy collaboration. "R.E.M. bands from Athens was the first ones even to come," says Miller, who as a result of the exposure became known to many as The Whirligig Man. "They still come up here every once in awhile."
Millers breezy pieces soon became a hip commodity as the Stipe-inspired folk art contagion infected Athens, first inside and then out....

Sadly, R. A. passed away on Tuesday, March 7, 2006 at the age of 93. --Detrourart.com




  "I am a Sophisticated Person" *
Paint on Board
Ht. 16" X 24"
Although Ruby Williams always loved to paint, her first works that caught anyones notice were signs designed to draw more customers into the produce stand. The signs her family had put up were drab, and she figured that more colorful and interesting signs would work better. Enough people were pulled in by her signs, and with their encouragement, she began to paint more and more.

Ruby is very proud of being an artist, and is very aware of her position in the art world. Shell show you all of her clippings, and tell you all about her many art shows.




  "Timing Me is Wrong" Paint on Wood *
Paint on wood
Ht. 16" X 24"
Although Ruby Williams always loved to paint, her first works that caught anyones notice were signs designed to draw more customers into the produce stand. The signs her family had put up were drab, and she figured that more colorful and interesting signs would work better. Enough people were pulled in by her signs, and with their encouragement, she began to paint more and more.

Ruby is very proud of being an artist, and is very aware of her position in the art world. Shell show you all of her clippings, and tell you all about her many art shows.




  "I Get Trit Hill" Willie Jinks marker on door *
Marker on door
Ht. 79" W. 30"
Jinks was born in 1921 into a sharecropper family in Locust Grove, Georgia. He moved to Atlanta where he worked for the department of sanitation. Jinks is known for his bold imagery, inspired by his life and imagination.




  "Hot on the Top" Willie Jinks marker on door *
Marker on door
Ht. 78.5" W. 24"
Jinks was born in 1921 into a sharecropper family in Locust Grove, Georgia. He moved to Atlanta where he worked for the department of sanitation. Jinks is known for his bold imagery, inspired by his life and imagination.




  Santa Claus Howard Finster Paint on wood *
Paint on wood
Ht. 27.5" X w. 9.5"
“The Lord spoke and said:
‘Give up the repair of lawn mowers; Give up the repair of bicycles; Give up the preaching of sermons; Paint my pictures.’ And that’s what I done."

--Museum of American Folk Art Encyclopedia of Twentieth Century American Folk Art and Artists" by Chuck and Jan Rosenak, Abbeville Press, New York, 1990.

One of the best known folk artists in America, with his art in many museums and galleries, and his work noted in countless articles, Howard Finster delved into painting with the fervor he once dedicated to his sermons. He created over 40,000 works and numbered almost each and every one.

This Santa Claus is number 5,258 and was painted on May 5, 1986. Notably this early piece is paint on not marker which he used extensively later in his career.




  Anne Grgich - Portrait Mixed media on wood *
Oil and mixed media on board
Ht. 5" W. 5"
Born in Portland, Oregon in 1961, Annemarie Grgich began making spontaneous art at the age of fifteen, mostly by clandestinely painting in her family’s books, or making junk constructions. She first introduced collage into her work around 1988, but took it to a higher level in 1997 during a period of illness. When she had recovered, later that year she began to produce collage paintings – images of people encountered over time in the street and in mind journeys that manifest themselves and recombine, according to her mood, in the process of creation. Collage helps to effect an almost alchemical transformation in the works, through its function as sign, to its active involvement in the dialogue between paint, drawing and resin. Anne’s works rarely include text, yet they are narrative-driven, reaching a kind of apogee in her magnificent handmade books, in which image and physicality combine as analogues of living experience.

...Anne Grgich is essentially a self-taught artist. She has filled countless notebooks with poetry and sketches or doodles since her childhood. These books have a long and circuitous evolution into her present, fabulously dense collage paintings and painted books. Grgich works on canvas and still fills books but instead of a pen, she uses a brush, pens, crayons, wax and whatever else comes her way. The poetic words have disappeared. In their place, Grgich paints sharply peculiar yet forcefully compelling human faces. Her images have a pure visionary nature.

"Grgichs life has been more traumatic than most. At age nineteen, she suffered from a serious car accident that placed her in a coma for two months and has consequently caused her pain and surgery ever since. After the accident she became mixed up in a mind-controlling cult. She escaped but joined a punk-rock subculture involved with drugs, and married an addict. When she found herself pregnant, Grgich pulled herself together, left drugs and an abusive marriage behind and gave birth to her son Jasper. Despite all the suffering, troubles and confusion, Grgich never stopped making art. She said, its what gets her through."
Raw Vision 2004




  Anne Grgich - Portrait Mixed media on wood *
Oil and mixed media on board
Ht. 6" W. 3.75"
Born in Portland, Oregon in 1961, Annemarie Grgich began making spontaneous art at the age of fifteen, mostly by clandestinely painting in her family’s books, or making junk constructions. She first introduced collage into her work around 1988, but took it to a higher level in 1997 during a period of illness. When she had recovered, later that year she began to produce collage paintings – images of people encountered over time in the street and in mind journeys that manifest themselves and recombine, according to her mood, in the process of creation. Collage helps to effect an almost alchemical transformation in the works, through its function as sign, to its active involvement in the dialogue between paint, drawing and resin. Anne’s works rarely include text, yet they are narrative-driven, reaching a kind of apogee in her magnificent handmade books, in which image and physicality combine as analogues of living experience.

...Anne Grgich is essentially a self-taught artist. She has filled countless notebooks with poetry and sketches or doodles since her childhood. These books have a long and circuitous evolution into her present, fabulously dense collage paintings and painted books. Grgich works on canvas and still fills books but instead of a pen, she uses a brush, pens, crayons, wax and whatever else comes her way. The poetic words have disappeared. In their place, Grgich paints sharply peculiar yet forcefully compelling human faces. Her images have a pure visionary nature.

"Grgichs life has been more traumatic than most. At age nineteen, she suffered from a serious car accident that placed her in a coma for two months and has consequently caused her pain and surgery ever since. After the accident she became mixed up in a mind-controlling cult. She escaped but joined a punk-rock subculture involved with drugs, and married an addict. When she found herself pregnant, Grgich pulled herself together, left drugs and an abusive marriage behind and gave birth to her son Jasper. Despite all the suffering, troubles and confusion, Grgich never stopped making art. She said, its what gets her through."
Raw Vision 2004




  Anne Grgich - Portrait Mixed media on wood *
Oil and mixed media on board
Ht. 7.5" W. 5.5"
Born in Portland, Oregon in 1961, Annemarie Grgich began making spontaneous art at the age of fifteen, mostly by clandestinely painting in her family’s books, or making junk constructions. She first introduced collage into her work around 1988, but took it to a higher level in 1997 during a period of illness. When she had recovered, later that year she began to produce collage paintings – images of people encountered over time in the street and in mind journeys that manifest themselves and recombine, according to her mood, in the process of creation. Collage helps to effect an almost alchemical transformation in the works, through its function as sign, to its active involvement in the dialogue between paint, drawing and resin. Anne’s works rarely include text, yet they are narrative-driven, reaching a kind of apogee in her magnificent handmade books, in which image and physicality combine as analogues of living experience.

...Anne Grgich is essentially a self-taught artist. She has filled countless notebooks with poetry and sketches or doodles since her childhood. These books have a long and circuitous evolution into her present, fabulously dense collage paintings and painted books. Grgich works on canvas and still fills books but instead of a pen, she uses a brush, pens, crayons, wax and whatever else comes her way. The poetic words have disappeared. In their place, Grgich paints sharply peculiar yet forcefully compelling human faces. Her images have a pure visionary nature.

"Grgichs life has been more traumatic than most. At age nineteen, she suffered from a serious car accident that placed her in a coma for two months and has consequently caused her pain and surgery ever since. After the accident she became mixed up in a mind-controlling cult. She escaped but joined a punk-rock subculture involved with drugs, and married an addict. When she found herself pregnant, Grgich pulled herself together, left drugs and an abusive marriage behind and gave birth to her son Jasper. Despite all the suffering, troubles and confusion, Grgich never stopped making art. She said, its what gets her through."
Raw Vision 2004




  Anne Grgich - Portrait Mixed media on wood *
Oil and mixed media on board
Ht. 5" W. 5"
Born in Portland, Oregon in 1961, Annemarie Grgich began making spontaneous art at the age of fifteen, mostly by clandestinely painting in her family’s books, or making junk constructions. She first introduced collage into her work around 1988, but took it to a higher level in 1997 during a period of illness. When she had recovered, later that year she began to produce collage paintings – images of people encountered over time in the street and in mind journeys that manifest themselves and recombine, according to her mood, in the process of creation. Collage helps to effect an almost alchemical transformation in the works, through its function as sign, to its active involvement in the dialogue between paint, drawing and resin. Anne’s works rarely include text, yet they are narrative-driven, reaching a kind of apogee in her magnificent handmade books, in which image and physicality combine as analogues of living experience.

...Anne Grgich is essentially a self-taught artist. She has filled countless notebooks with poetry and sketches or doodles since her childhood. These books have a long and circuitous evolution into her present, fabulously dense collage paintings and painted books. Grgich works on canvas and still fills books but instead of a pen, she uses a brush, pens, crayons, wax and whatever else comes her way. The poetic words have disappeared. In their place, Grgich paints sharply peculiar yet forcefully compelling human faces. Her images have a pure visionary nature.

"Grgichs life has been more traumatic than most. At age nineteen, she suffered from a serious car accident that placed her in a coma for two months and has consequently caused her pain and surgery ever since. After the accident she became mixed up in a mind-controlling cult. She escaped but joined a punk-rock subculture involved with drugs, and married an addict. When she found herself pregnant, Grgich pulled herself together, left drugs and an abusive marriage behind and gave birth to her son Jasper. Despite all the suffering, troubles and confusion, Grgich never stopped making art. She said, its what gets her through."
Raw Vision 2004




  Anne Grgich - Portrait Mixed media on wood *
Oil and mixed media on board
Ht. 5" W. 5"
Born in Portland, Oregon in 1961, Annemarie Grgich began making spontaneous art at the age of fifteen, mostly by clandestinely painting in her family’s books, or making junk constructions. She first introduced collage into her work around 1988, but took it to a higher level in 1997 during a period of illness. When she had recovered, later that year she began to produce collage paintings – images of people encountered over time in the street and in mind journeys that manifest themselves and recombine, according to her mood, in the process of creation. Collage helps to effect an almost alchemical transformation in the works, through its function as sign, to its active involvement in the dialogue between paint, drawing and resin. Anne’s works rarely include text, yet they are narrative-driven, reaching a kind of apogee in her magnificent handmade books, in which image and physicality combine as analogues of living experience.

...Anne Grgich is essentially a self-taught artist. She has filled countless notebooks with poetry and sketches or doodles since her childhood. These books have a long and circuitous evolution into her present, fabulously dense collage paintings and painted books. Grgich works on canvas and still fills books but instead of a pen, she uses a brush, pens, crayons, wax and whatever else comes her way. The poetic words have disappeared. In their place, Grgich paints sharply peculiar yet forcefully compelling human faces. Her images have a pure visionary nature.

"Grgichs life has been more traumatic than most. At age nineteen, she suffered from a serious car accident that placed her in a coma for two months and has consequently caused her pain and surgery ever since. After the accident she became mixed up in a mind-controlling cult. She escaped but joined a punk-rock subculture involved with drugs, and married an addict. When she found herself pregnant, Grgich pulled herself together, left drugs and an abusive marriage behind and gave birth to her son Jasper. Despite all the suffering, troubles and confusion, Grgich never stopped making art. She said, its what gets her through."
Raw Vision 2004




  "Pickin" - Ken Gentle "Blacktop" paint on tar *
Paint on tar
Ht. 24" x W. 24"
Alabama native "BLACKTOP" is a self-taught artist who began his art as a way to share the visions and dreams he has experienced growing up in the South. He has been painting for most of his life using water colors, enamels and acrylics, and most of his paintings start with a base of "black tar" on wood or cardboard (hence the name "Blacktop").




  Simon Tookoome "Baker Lake" pencil on paper *
Colored pencil on Paper
Canada
Ht. 23" W. 30"
c. 1990
Judith and Patrick Blackburn Collection
Simon Tookoome (born December 9, 1934, Chantrey Inlet) is an Utkusiksalingmiut Inuit artist. In his youth, Tookoome and other Utkusiksalingmiut lived along the Back River and in Gjoa Haven on King William Island. Here he met and was influenced by the Netsilik Inuit.[1][2]
He moved to Baker Lake, Nunavut, Canada in the 1960s when his Inuit band was threatened with starvation. After the arrival of arts advisors in 1969, Tookoome began to draw and carve stones. He was a founding member of the Sanavik Co-op.[2]
He is author, with Sheldon Oberman, of the childrens book Shamans Nephew: A Life in the Far North, which won the $10,000 Norma Fleck Award for Canadian childrens non-fiction in 2000. This autobiographical book deals with Tookoomes youthful experiences of the traditional Inuit way of life, including experiences with hunting and encountering non-Inuit culture for the first time. He is also included in Irene Avaalaaqiaq Myth and Reality:
In the winter of 1957 to 1958, the caribou took a different route to the calving grounds. We could not find them. All the animals were scarce. We were left waiting and many of the people died of hunger. My family did not suffer as much as others. None of us died. We kept moving and looking. We survived on fish. We had thirty dogs. All but four died but we only had to eat one of them. The rest we left behind. We did not feel it was right to eat them or feed them to the other dogs. My father and his brothers had gone ahead to hunt. We had lost a lot of weight and were very hungry. I left the igloo and I knelt and prayed at a great rock. This was the first time I had ever prayed. Then five healthy caribou appeared on the ice and they did not run away. I thought I would not be able to catch them because there were no shadows. The land was flat without even a rock for cover. However, I was able to kill them with little effort. I was so grateful, that I shook their hooves as a sign of gratitude because they gave themselves up to my hunger. I melted the snow with my mouth and gave them each a drink. I was careful in removing the sinews so as to ease their spiritspain. This is the traditional way to show thanks. Because of what those caribou did, I always hunted in this way. I respected the animals.(Nasby, 2002)
In addition to being an accomplished artist, Tookoome is renowned as a master whipper.[3]




  Milling machine mask *
Steel, paint
Ht. 11"
At one point this fascinating mask was a functioning part of a milling machine. Now as found art it gives us a different view of ourselves and art.




  Too Old to Rock "n Roll" by Ben Arthur *
Etching on mirror
Ht. 23" W. 19 1/8"
From Montgomery, Alabama, Ben is a vocalist, lyricist and graphic designer. His music, and his personal reflections about mental illness, have been featured on local and national public radio. He is also the author of a book called "A Simple Twist of Faith." Both his book and his CD, titled "Lifetime" by The Arthur Clark band, are available on Amazon.com. He can be found online at www.myspace.com/thearthurclarkband.




  "Ivory Towers" by Jim Gary Phillips *
Acrylic Paint on Wooden Cabinet Door
Ht. 27 1/2" W. 13 1/4"
Jim Gary Phillips is a self-taught folk artist who started painting in 1998. He says he got the inspiration to paint from well-known folk artist Minnie Adkins. He states, "Minnie Adkins was a definite influence on me. over the years I have gotten to be good friends with her... Minnie is always encouraging people to create. " Jim Gary is not only a folk painter, but also works as a farmer, auctioneer, and appraiser in the rural Metcalfe County landscape of his birth.

Jim Gary says he made walking sticks as a boy--learning from his grandfather and took up painting about 8-10 years ago. He paints animals, scenes and sayings onto wooden boards--taking the sayings from a song, the bible or even just making them up. He initially painted on barn wood, and then began using discarded wooden cabinet doors from several cabinet factories located nearby.

Jim Gary paints directly onto the cabinet door wood, with no preliminary drawing. Using bright acrylic colors, he paints animals and people with simple, abstract, flat shapes. He embellishes these images with sayings and words applied with a white-out pen, which often fill the spaces in and around the painted figures. He sometimes plays with the language and often gives bible or well-known verses a delightful new twist, along with words from old Appalachian songs.




  "Fox on the Run" by Jim Gary Phillips *
Acrylic Paint on Wooden Cabinet Door
Ht. 13 1/8" W. 28"
Jim Gary Phillips is a self-taught folk artist who started painting in 1998. He says he got the inspiration to paint from well-known folk artist Minnie Adkins. He states, "Minnie Adkins was a definite influence on me. over the years I have gotten to be good friends with her... Minnie is always encouraging people to create. " Jim Gary is not only a folk painter, but also works as a farmer, auctioneer, and appraiser in the rural Metcalfe County landscape of his birth.

Jim Gary says he made walking sticks as a boy--learning from his grandfather and took up painting about 8-10 years ago. He paints animals, scenes and sayings onto wooden boards--taking the sayings from a song, the bible or even just making them up. He initially painted on barn wood, and then began using discarded wooden cabinet doors from several cabinet factories located nearby.

Jim Gary paints directly onto the cabinet door wood, with no preliminary drawing. Using bright acrylic colors, he paints animals and people with simple, abstract, flat shapes. He embellishes these images with sayings and words applied with a white-out pen, which often fill the spaces in and around the painted figures. He sometimes plays with the language and often gives bible or well-known verses a delightful new twist, along with words from old Appalachian songs.




  "Big Blue Possum" by Jim Gary Phillips *
Acrylic Paint on Wooden Cabinet Door
Ht. 17 7/8" W. 21 1/2"
Jim Gary Phillips is a self-taught folk artist who started painting in 1998. He says he got the inspiration to paint from well-known folk artist Minnie Adkins. He states, "Minnie Adkins was a definite influence on me. over the years I have gotten to be good friends with her... Minnie is always encouraging people to create. " Jim Gary is not only a folk painter, but also works as a farmer, auctioneer, and appraiser in the rural Metcalfe County landscape of his birth.

Jim Gary says he made walking sticks as a boy--learning from his grandfather and took up painting about 8-10 years ago. He paints animals, scenes and sayings onto wooden boards--taking the sayings from a song, the bible or even just making them up. He initially painted on barn wood, and then began using discarded wooden cabinet doors from several cabinet factories located nearby.

Jim Gary paints directly onto the cabinet door wood, with no preliminary drawing. Using bright acrylic colors, he paints animals and people with simple, abstract, flat shapes. He embellishes these images with sayings and words applied with a white-out pen, which often fill the spaces in and around the painted figures. He sometimes plays with the language and often gives bible or well-known verses a delightful new twist, along with words from old Appalachian songs.




  "Woman with grey topcoat" by Mose Tolliver *
Latex paint on masonite
Ht. 27" W. 15.5"
Mose Tolliver began life in Pintala, AL as the son of a sharecropper and farm overseer. He was the youngest of seven sons, born into a family of twelve children and attended school through the third grade.

Mose met and married Willie Mae Thomas in the early 1940s and fathered eleven children, seven sons and four daughters. Two other children died in infancy. In the late 1960s a crate of marble fell from a fork-lift and crushed Moses left ankle and damaged leg tendons and muscles which left him unable to walk without assistance.

Mose regularly worked with "pure house paint" on plywood; creating whimsical and sometimes erotic pictures of animals, humans, and flora. A "Quail Bird" may glide over a cotton field, or a spread-leg "Diana" may be straddled over "An Exercise Rack Bicycle. Self portraits with crutches are a repeated image, as are watermelons. Mose was dyslexic, which may have encouraged his artistic efforts by limiting his reading and writing abilities. He would often turn his paintings upside-down and paint the picture of perhaps an animal and landscape positioned from various directions. The composition of Toliver titles are wildly divergent; "Smoke Charlies," "Scopper Bugs,"or "Jick Jack Suzy Satisfying her own Self."

A couple of years after the accident, and after a period of drunken depression, Mose was encouraged to try oil painting by Raymond McLendon, one of his former employers. He began to paint on any surface given to him. He uses what he calls "pure paint," which is house paint - oil base at first, and more recently water-based latex.

In 1982, the Smithsonians Corcoran Gallery included Mose Tolliver in the seminal show "Black Folk Art in America 1930-1980" This cemented Moses place as one of the major self-taught artists of the 20th century. He passed away on October 30, 2006. --Detourart.com




  House with brown roof by Jimmy Lee Sudduth *
Mud and paint on wood
Ht. 12 1/2 W. 19"
Jimmy Lee Sudduth is an African-American folk artist whose evocative, textured paintings made partly from Alabama mud are prized by collectors around the world. A self-taught artist who began painting as a very small child, Mr. Sudduth is renowned for the effects he could produce with his own homemade paint, which consisted of mud blended with a variety of common substances — soot, axle grease, sugar, coffee grounds and much else — to lend it color and texture. Applied and worked with his fingers, the mud assumes contour, line and form. Painted on scrap lumber, sheet metal and most commonly on plywood, Mr. Sudduth’s art often depicted everyday life in Alabama — portraits of houses, people, farm animals and his dog, Toto. But it also ranged over the architecture of faraway places, as in his paintings of Washington landmarks and his geometric scenes of New York City skyscrapers.
His art is in the permanent collections of the Museum of American Folk Art in New York, the Smithsonian Institution, the High Museum of Art and the Montgomery Museum of Fine Arts. It was the subject of a book, “The Life and Art of Jimmy Lee Sudduth" (Montgomery Museum of Fine Arts, 2005), by Ms. Crawley. ---NY Times, September 9, 2007




  House with white roof - Jimmy Lee Sudduth *
Paint and mud on wood
Ht. 16 W. 24"
Jimmy Lee Sudduth is an African-American folk artist whose evocative, textured paintings made partly from Alabama mud are prized by collectors around the world. A self-taught artist who began painting as a very small child, Mr. Sudduth is renowned for the effects he could produce with his own homemade paint, which consisted of mud blended with a variety of common substances — soot, axle grease, sugar, coffee grounds and much else — to lend it color and texture. Applied and worked with his fingers, the mud assumes contour, line and form. Painted on scrap lumber, sheet metal and most commonly on plywood, Mr. Sudduth’s art often depicted everyday life in Alabama — portraits of houses, people, farm animals and his dog, Toto. But it also ranged over the architecture of faraway places, as in his paintings of Washington landmarks and his geometric scenes of New York City skyscrapers.
His art is in the permanent collections of the Museum of American Folk Art in New York, the Smithsonian Institution, the High Museum of Art and the Montgomery Museum of Fine Arts. It was the subject of a book, “The Life and Art of Jimmy Lee Sudduth" (Montgomery Museum of Fine Arts, 2005), by Ms. Crawley. ---NY Times, September 9, 2007




  Flowers in a Vase by Jimmy Sudduth *
Paint on wood
Ht. 18 1/2 W. 1034
Jimmy Lee Sudduth is an African-American folk artist whose evocative, textured paintings made partly from Alabama mud are prized by collectors around the world. A self-taught artist who began painting as a very small child, Mr. Sudduth is renowned for the effects he could produce with his own homemade paint, which consisted of mud blended with a variety of common substances — soot, axle grease, sugar, coffee grounds and much else — to lend it color and texture. Applied and worked with his fingers, the mud assumes contour, line and form. Painted on scrap lumber, sheet metal and most commonly on plywood, Mr. Sudduth’s art often depicted everyday life in Alabama — portraits of houses, people, farm animals and his dog, Toto. But it also ranged over the architecture of faraway places, as in his paintings of Washington landmarks and his geometric scenes of New York City skyscrapers.
His art is in the permanent collections of the Museum of American Folk Art in New York, the Smithsonian Institution, the High Museum of Art and the Montgomery Museum of Fine Arts. It was the subject of a book, “The Life and Art of Jimmy Lee Sudduth" (Montgomery Museum of Fine Arts, 2005), by Ms. Crawley. ---NY Times, September 9, 2007




  Bull, #10,550, April 5, 1989 by Howard Finster *
Paint on wood
Ht. 10" W. 16"
The Lord spoke and said:
‘Give up the repair of lawn mowers; Give up the repair of bicycles; Give up the preaching of sermons; Paint my pictures.’ And that’s what I done."
--Museum of American Folk Art Encyclopedia of Twentieth Century American Folk Art and Artists" by Chuck and Jan Rosenak, Abbeville Press, New York, 1990.
One of the best known folk artists in America, with his art in many museums and galleries, and his work noted in countless articles, Howard Finster delved into painting with the fervor he once dedicated to his sermons. He created over 40,000 works and numbered almost each and every one. This self portrait is number 12,263.




  Jim Gary Phillips Feeding the Fire Painting *
Acrylic Paint on Wooden Cabinet Door
Ht. 22" W. 16"
Jim Gary Phillips is a self-taught folk artist who started painting in 1998. He says he got the inspiration to paint from well-known folk artist Minnie Adkins. He states, "Minnie Adkins was a definite influence on me. over the years I have gotten to be good friends with her... Minnie is always encouraging people to create. " Jim Gary is not only a folk painter, but also works as a farmer, auctioneer, and appraiser in the rural Metcalfe County landscape of his birth.

Jim Gary says he made walking sticks as a boy--learning from his grandfather and took up painting about 8-10 years ago. He paints animals, scenes and sayings onto wooden boards--taking the sayings from a song, the bible or even just making them up. He initially painted on barn wood, and then began using discarded wooden cabinet doors from several cabinet factories located nearby.

Jim Gary paints directly onto the cabinet door wood, with no preliminary drawing. Using bright acrylic colors, he paints animals and people with simple, abstract, flat shapes. He embellishes these images with sayings and words applied with a white-out pen, which often fill the spaces in and around the painted figures. He sometimes plays with the language and often gives bible or well-known verses a delightful new twist, along with words from old Appalachian songs.




  Jim Gary Phillips Usury Beast Painting on Cabinet *
Acrylic paint on wooden cabinet door
Ht. 28" W. 19"
Jim Gary Phillips is a self-taught folk artist who started painting in 1998. He says he got the inspiration to paint from well-known folk artist Minnie Adkins. He states, "Minnie Adkins was a definite influence on me. over the years I have gotten to be good friends with her... Minnie is always encouraging people to create. " Jim Gary is not only a folk painter, but also works as a farmer, auctioneer, and appraiser in the rural Metcalfe County landscape of his birth.

Jim Gary says he made walking sticks as a boy--learning from his grandfather and took up painting about 8-10 years ago. He paints animals, scenes and sayings onto wooden boards--taking the sayings from a song, the bible or even just making them up. He initially painted on barn wood, and then began using discarded wooden cabinet doors from several cabinet factories located nearby.

Jim Gary paints directly onto the cabinet door wood, with no preliminary drawing. Using bright acrylic colors, he paints animals and people with simple, abstract, flat shapes. He embellishes these images with sayings and words applied with a white-out pen, which often fill the spaces in and around the painted figures. He sometimes plays with the language and often gives bible or well-known verses a delightful new twist, along with words from old Appalachian songs.




  Lilah Miller Mixed media drawing, 1937 *
Mixed media drawing on paper
Ht. 10 3/4" W. 13 3/4"
A sense of humor is important




  "Googling Elvis" *
Mixed media
Ht. 16 3/4" W. 13 1/2"
A native "YAT" (born and raised in New Orleans) Hannah has a long standing passion for New Orleans and her Southern Heritage. A self-taught folk artist, trading under the very local name of RED BEANS AND NICE, Hannah produces contemporary mixed-media works in the folk art tradition. Hannah believes, "Everybody has a story to tell ...a time to remember...a memory to share." --nolafunguide.com




  Jimmy Lee Sudduth Woman with apron *
Mud & pigment on plywood
Ht. 25 1/8" W. 14 3/8"
Jimmy Lee Sudduth is an African-American folk artist whose evocative, textured paintings made partly from Alabama mud are prized by collectors around the world. A self-taught artist who began painting as a very small child, Mr. Sudduth is renowned for the effects he could produce with his own homemade paint, which consisted of mud blended with a variety of common substances — soot, axle grease, sugar, coffee grounds and much else — to lend it color and texture. Applied and worked with his fingers, the mud assumes contour, line and form. Painted on scrap lumber, sheet metal and most commonly on plywood, Mr. Sudduth’s art often depicted everyday life in Alabama — portraits of houses, people, farm animals and his dog, Toto. But it also ranged over the architecture of faraway places, as in his paintings of Washington landmarks and his geometric scenes of New York City skyscrapers.
His art is in the permanent collections of the Museum of American Folk Art in New York, the Smithsonian Institution, the High Museum of Art and the Montgomery Museum of Fine Arts. It was the subject of a book, “The Life and Art of Jimmy Lee Sudduth" (Montgomery Museum of Fine Arts, 2005), by Ms. Crawley. ---NY Times, September 9, 2007




  Mose Tolliver Self Portrait on crutches *
Paint on plywood
Ht. 24" W. 16"
Mose Tolliver began life in Pintala, AL as the son of a sharecropper and farm overseer. He was the youngest of seven sons, born into a family of twelve children and attended school through the third grade.

Mose met and married Willie Mae Thomas in the early 1940s and fathered eleven children, seven sons and four daughters. Two other children died in infancy. In the late 1960s a crate of marble fell from a fork-lift and crushed Moses left ankle and damaged leg tendons and muscles which left him unable to walk without assistance.

Mose regularly worked with "pure house paint" on plywood; creating whimsical and sometimes erotic pictures of animals, humans, and flora. A "Quail Bird" may glide over a cotton field, or a spread-leg "Diana" may be straddled over "An Exercise Rack Bicycle. Self portraits with crutches are a repeated image, as are watermelons. Mose was dyslexic, which may have encouraged his artistic efforts by limiting his reading and writing abilities. He would often turn his paintings upside-down and paint the picture of perhaps an animal and landscape positioned from various directions. The composition of Toliver titles are wildly divergent; "Smoke Charlies," "Scopper Bugs,"or "Jick Jack Suzy Satisfying her own Self."

A couple of years after the accident, and after a period of drunken depression, Mose was encouraged to try oil painting by Raymond McLendon, one of his former employers. He began to paint on any surface given to him. He uses what he calls "pure paint," which is house paint - oil base at first, and more recently water-based latex.

In 1982, the Smithsonians Corcoran Gallery included Mose Tolliver in the seminal show "Black Folk Art in America 1930-1980" This cemented Moses place as one of the major self-taught artists of the 20th century. He passed away on October 30, 2006. --Detourart.com




  Inez Walker Male Portrait *
Pencil and crayon on paper
Ht. 17 3/4" W. 11 3/4"
Born into poverty in Sumter, South Carolina in 1911, Inez was orphaned at an early age. She was married when only 16 years old and quickly had four children. She then moved to Philadelphia to get away from the grueling farm work.

"Got tired of working so hard on the farm, weeding and hoeing," she told a reporter for New York States "Correctional Services News" in 1978. "The muck would eat you up."

For awhile Inez worked at a pickle plant, but a strike brought that to an end. In 1949 she moved to Port Byron in New York State and went back to migrant farm work but at least the "muck" of South Carolina was missing. She lived and worked in several other places in New York, including Clyde, Savannah and Geneva.

Inez was imprisoned in the early 1970s for killing a man who had most-likely abused her. "Some of these men folks is pitiful," Inez told the newspaper reporter. It was while confined at the Bedford Hills Correctional Facility (formerly known as Westfield State Farm) in Westchester County, New York State that she began to draw.

One day in early 1971 Elizabeth Bayley, a teacher of remedial English at the prison for women, found several drawings that had been anonymously left in a pile on a chair in her classroom and discovered they were done by Inez, a student in her class. There were 56 works in all, drawn on the backs of any paper Inez could find such as the prison newsletter, some prison evaluation sheets and forms. Mrs. Bayley was astounded by Inezs visionary talent, "Looking over them, I was struck by their originality, their humor and their amazing attention to detail," the teacher said. She brought her work to the attention of the art teacher who supplied her with drawing paper and sketch books, pens, pencils and crayons.

Inez became prolific and in a few months filled dozens of sketch books prior to her release from prison in 1972. Mrs. Bayley showed the drawings to Pat Parsons a local folk art dealer who purchased many of them for exhibition and Inez had her first show in late 1972. Pat Parsons then supplied Inez with first-rate materials: good paper, watercolors, pencils (both colored and graphite), ink crayons, and felt markers. These are reflected in her later work.

Inez drew the people around her, mainly the inmates whom she referred to as the "Bad Girls." The bad girls are often depicted in social situations engaging in the pleasures of drinking, smoking and conversing. Men and children only occasionally appear in her work.

After her release from prison, Inez lived quietly and simply in a small city in New Yorks Fingerlakes region, continued to draw and was glad to have the chance to show what she had done to visitors. She died in 1990.--Detourart.com




  B.F. Perkins Calendar *
Paint on canvas
Ht. 28 1/2 W. " 34 1/4"
Born February 6, 1904 in Vernon, Alabama, Benjamin Franklin Perkins longed to see the world when he was young. Eventually he became a U. S. Marine, who guarded the White House when Coolidge was President, as well as an evangelist who traveled and preached revivals.
In 1969, Perkins returned to Alabama. He established a congregation of the Church of God and built a church and meeting hall near his quaint studio home located on 5 acres at Bankston near his birthplace. He began painting and adorning his environment with patterns and signs in red, white and blue. His studio was a fascinating place, filled with mottoes and objects he had painted. He painted mostly in acrylic, often on canvas. His unique style had an exotic but genuine mix of patriotism and religious fervor.

In l992, Perkins suffered a second heart attack and was urged to move to a managed care facility. Each day he would drive the five miles to his studio to paint and on Sundays to preach. Perkins died on January 12, l993 at the age of 88. Today his works are in collections throughout the world. --detourart.com




  Howard Finster Self Portrait *
Paint on plywood
Ht. 21 1/2"
“The Lord spoke and said:
‘Give up the repair of lawn mowers; Give up the repair of bicycles; Give up the preaching of sermons; Paint my pictures.’ And that’s what I done."
--Museum of American Folk Art Encyclopedia of Twentieth Century American Folk Art and Artists" by Chuck and Jan Rosenak, Abbeville Press, New York, 1990.
One of the best known folk artists in America, with his art in many museums and galleries, and his work noted in countless articles, Howard Finster delved into painting with the fervor he once dedicated to his sermons. He created over 40,000 works and numbered almost each and every one. This self portrait is number 12,263.




  Howard Finster Portrait of Da Vinci *
Paint on plywood
Ht. 14"
“The Lord spoke and said:
‘Give up the repair of lawn mowers; Give up the repair of bicycles; Give up the preaching of sermons; Paint my pictures.’ And that’s what I done."
--Museum of American Folk Art Encyclopedia of Twentieth Century American Folk Art and Artists" by Chuck and Jan Rosenak, Abbeville Press, New York, 1990.
One of the best known folk artists in America, with his art in many museums and galleries, and his work noted in countless articles, Howard Finster delved into painting with the fervor he once dedicated to his sermons. He created over 40,000 works and numbered almost each and every one. This Da Vinci portrait is number 11,654.




  "Art World" Painted wooden sculpture *
Paint on wood three dimensional sculpture
Ht. 15 1/4" W. 14" Depth 2 1/4"
Jennings dropped out of school in the fifth grade and was educated at home by his mother, a schoolteacher. In early adulthood, he worked as a projectionist at a drive-in movie theater. After his mother died, he supported himself by collecting and recycling cans found along busy highways, supplemented by a small inheritance. In the early 1980s he began building a series of small interconnecting structures across the road from his house, topped by whirligigs and homemade Ferris wheels. After his work was shown in the "Southern Visionary Folk Artists" exhibition in 1985, Jennings began working full-time making brightly colored wooden tableaux and assemblages inspired, he said, by electroencephalography and metempsychosis." Jennings committed suicide in 1999. His once impressive environment is now gone. --Copyright Roger Manley, "Signs and Wonders, Outsider Art Inside North Carolina" by Roger Manley




  Pen and marker portrait *
Pen and marker
Ht. 15 1/4" W. 12"
Originally from Kentucky, he makes his home in Laguna Hills, California. His highly detailed and obsessive pen and marker portraits are his best known work. He says they are all self portraits. He creates images in black and white and in bright colors. Both styles are highly sought.

His earliest pieces or "doodles" were rendered on whatever paper he found at hand. In time, he began drawing on very high-grade stiff paper board used to separate medical x-ray film during shipment that he collected at the hospital where he worked. Some consider his early drawings from the late 60s and early 70s on the reverse of San Francisco Opera posters to be his most desirable.

For many years, European collectors have prized his work as belonging to the art brut style, with its obsessively detailed images of tormented, restless and troubled faces. --Detourart.com




  Untitled ink on paper drawing, William L. Hawkins *
Ballpoint pen on paper
Ht. 13 7/8" W. 11"
William Hawkins (1895-1990) was of mixed ancestry -- black, white and American Indian -- and said that this heritage was one reason for his talent. He was born in Kentucky, grew up on a farm and moved to Columbus, Ohio, at age 26, where he spent the remainder of his life working a wide variety of jobs, often several at once, ranging from truck driver and plumber to running a whorehouse.

Although Hawkins says that he made and sold art since the 1930s, he seems to have begun art-making in earnest in the 1970s. An inveterate recycler, Hawkins collected cast-offs and assorted odds-and-ends not only for resale to junk dealers and to decorate his home and car, but also to use as art supplies. He scavenged cans of leftover paint and found old boards to work on. He always used a single brush until he had worn down the bristles.
-"William Hawkins: outsider, now very in" by N. F. Karlins on artnet.com





This roughly sketched drawing of what appear be a bear and a fish is signed and dated at bottom "July 27 1895 WILLIAM L.HAWKINS. BORN KY". Hawkins passed away in 1990.




  Berneta Crowder acrylic on canvas on panel *
Acrylic on canvas laid on panel
Ht. 20" W. 16"
Self-taught artist Berneta Crowder was born in Fort Mitchell, Virginia. Her works, which are set mostly in the 1920s focus on life and activities in rural Virginia. Some of her pieces were included in the exhibit "Winters Past: Seasonal Impressions by Virginia Memory Painters" along with similar artists Eldridge Bagley and Queena Stovall at the Meadow Farm Museum in 1986. --p4a.com




  12/50 Limited edition woodblock print on paper *
woodblock print on paper
Ht. 21 1/2" W. 29"
Etok, born in 1929 at Qirnituartuq, a camp near todays community of Kangiqsualujjuaq, became a printmaker during the 1970s, and was the first Inuk printmaker to see a collection of his own prints released in 1975.

Now, more than 35 years later, everyone can appreciate Etoks work and life, thanks to the trilingual book, Tivi Etok: the life and art of an Inuit elder, recently published by Nunaviks Avataq Cultural Institute in Inuttitut, English and French.

"His unique artistic voice won him the admiration of art dealers, the public and his peers," says Jobie Weetaluktuk in his introduction to the book, review in the Oct. 24 Nunatsiaq News. --http://www.sikunews.com/art.html?artid=5634&catid=21

Tivi Etok (born 1929) is a Canadian Inuit artist, illustrator, and printmaker. In 1975, he was the first Inuk printmaker to have a collection of his own prints released.[1] He is now an Inuk Elder.[1] --wikipedia.com




  Paulosie Sivuak 22/50 lithograph, 1986 *
Lithograph on paper
Ht. 15 1/2" W. 17 1/2"
Paulosie Sivuak, one of the foremost artists in the Povungnituk Cooperative will be remembered not only for his artistic contributions, but also for his involvement with economic and political issues confronting the Inuit. Born into a hunting society in 1930, Paulosie witnessed numerous changes in the course of his 56 years. Never one to remain passive or disinterested, he became actively involved in both the artistic and social evolution of a people. --http://www.blair-murrah.org/PaulosieSivuak.php

"The Eskimo art is not just imagination, it really shows how the old Eskimo life was hard. The artists also show which animals the hunter hunted. Since the Eskimo artists cant speak your language, they tell you, with their art, how their grandfathers struggled for life." --Paulosie Sivuak, Povungnituk, 1968




  Archie Byrons "Winter Time", 1992 *
Framed, Three dimensional mixed media
Ht. 16" W. 26"
Archie Byron was born in Atlanta, Georgia in 1928. When he was young, he met Martin Luther King, Jr. who he later marched with in the civil rights rallies. He left high school to fight in World War II in Japan. When he returned home from WWII, he enrolled in a vocational school where he learned brick masonry and architectural drawing. He worked for a bricklayer and during this time created creative and original designs in his own work. In 1961, he was the first Afircan American to establish a private investigation firm. In the early seventies, Byron established many small businesses; one of which was a gun repair shop and the other a security guard training school. In the 1980s, he served on the Atlanta City Council. Being a bricklayer, Archie Byron knew how to mix compounds. One day, when throwing out materials from the gun repair shop, he decided to recycle the materials and find a use for them. He mixed sawdust, glue and water and spread it onto a board. With his fingers and a putty knife, he shaped the thick mixture into forms. After the sawdust was dried and thus hardened, Archie Byron painted on an image with an airbrush to give the painting more definition. He only used regular house paint to color it. In this way, Byron is a great example of a folk artist in using found materials because he sees the possibilties in them. One can infer from his images of poverty and unity and faces and many other images that one of the things Byron wishes to show us is poverty and unity. In this way, we can also look into the pictures for Byrons beliefs. Once you see his work, you can recognize the sawdust man anywhere. --Detourart.com




  Mose Tolliver Woman with purple face *
Paint on plywood
Ht. 26 1/4" W. 22 1/2"
Mose Tolliver began life in Pintala, AL as the son of a sharecropper and farm overseer. He was the youngest of seven sons, born into a family of twelve children and attended school through the third grade.

Mose met and married Willie Mae Thomas in the early 1940s and fathered eleven children, seven sons and four daughters. Two other children died in infancy. In the late 1960s a crate of marble fell from a fork-lift and crushed Moses left ankle and damaged leg tendons and muscles which left him unable to walk without assistance.

Mose regularly worked with "pure house paint" on plywood; creating whimsical and sometimes erotic pictures of animals, humans, and flora. A "Quail Bird" may glide over a cotton field, or a spread-leg "Diana" may be straddled over "An Exercise Rack Bicycle. Self portraits with crutches are a repeated image, as are watermelons. Mose was dyslexic, which may have encouraged his artistic efforts by limiting his reading and writing abilities. He would often turn his paintings upside-down and paint the picture of perhaps an animal and landscape positioned from various directions. The composition of Toliver titles are wildly divergent; "Smoke Charlies," "Scopper Bugs,"or "Jick Jack Suzy Satisfying her own Self."

A couple of years after the accident, and after a period of drunken depression, Mose was encouraged to try oil painting by Raymond McLendon, one of his former employers. He began to paint on any surface given to him. He uses what he calls "pure paint," which is house paint - oil base at first, and more recently water-based latex.

In 1982, the Smithsonians Corcoran Gallery included Mose Tolliver in the seminal show "Black Folk Art in America 1930-1980" This cemented Moses place as one of the major self-taught artists of the 20th century. He passed away on October 30, 2006. --Detourart.com




  Mose Tolliver Woman with red face *
Paint on plywood
Ht. 23 3/4" W. 20 1/8"
Mose Tolliver began life in Pintala, AL as the son of a sharecropper and farm overseer. He was the youngest of seven sons, born into a family of twelve children and attended school through the third grade.

Mose met and married Willie Mae Thomas in the early 1940s and fathered eleven children, seven sons and four daughters. Two other children died in infancy. In the late 1960s a crate of marble fell from a fork-lift and crushed Moses left ankle and damaged leg tendons and muscles which left him unable to walk without assistance.

Mose regularly worked with "pure house paint" on plywood; creating whimsical and sometimes erotic pictures of animals, humans, and flora. A "Quail Bird" may glide over a cotton field, or a spread-leg "Diana" may be straddled over "An Exercise Rack Bicycle. Self portraits with crutches are a repeated image, as are watermelons. Mose was dyslexic, which may have encouraged his artistic efforts by limiting his reading and writing abilities. He would often turn his paintings upside-down and paint the picture of perhaps an animal and landscape positioned from various directions. The composition of Toliver titles are wildly divergent; "Smoke Charlies," "Scopper Bugs,"or "Jick Jack Suzy Satisfying her own Self."

A couple of years after the accident, and after a period of drunken depression, Mose was encouraged to try oil painting by Raymond McLendon, one of his former employers. He began to paint on any surface given to him. He uses what he calls "pure paint," which is house paint - oil base at first, and more recently water-based latex.

In 1982, the Smithsonians Corcoran Gallery included Mose Tolliver in the seminal show "Black Folk Art in America 1930-1980" This cemented Moses place as one of the major self-taught artists of the 20th century. He passed away on October 30, 2006. --Detourart.com




  Leroy Almon Sr. "Angel", 1989 *
Three dimensional paint on board
Ht. 24" W. 11 1/4"
Leroy Almon (1938-1997) was born in Tallapoosa, Georgia, but grew up and spent most of his life in Ohio. He learned the art of woodcarving as an apprentice of Elijah Pearce. He was also an ordained minister and nondenominational evangelist. Leroys beautifully carved pieces center around the themes of rellgious devotion and social and moral codes.




  (Black Princess), Date Unknown *
Framed Oil on canvas
Ht. 14 7/8" W. 12 3/4"
Lorenzo Scott, a fervent and enthusiastic Baptist, paints classical religious subject matter-a little Giotto, a little Leonardo, and a few pop images such a Tammy Faye and Jim Bakker (he is looking angelic and innocent in handcuffs) for good measure. Scott spends many solitary hours in the High Museum of Art in Atlanta looking at religious art, and then, he says, "I go home and paint em again, only a little better." Scott also builds his own frames, fashioning them from wood and rosettes of Bondo. After his frames are gilded, they closely resemble the baroque frames that he sees in the High Museum. According to Scott, the Lord is always with him. "I got mugged," he remembers, "and the Lord brought em [his assailants] right into the police station. Now nobody fools with me!" --"Contemporary American Folk Art" By Chuck and Jan Rosenak




  Painting of a barn on plywood *
Mud and pigment on plywood
Ht. 24 1/4" W. 32 1/8"
Jimmy Lee Sudduth is an African-American folk artist whose evocative, textured paintings made partly from Alabama mud are prized by collectors around the world. A self-taught artist who began painting as a very small child, Mr. Sudduth is renowned for the effects he could produce with his own homemade paint, which consisted of mud blended with a variety of common substances — soot, axle grease, sugar, coffee grounds and much else — to lend it color and texture. Applied and worked with his fingers, the mud assumes contour, line and form. Painted on scrap lumber, sheet metal and most commonly on plywood, Mr. Sudduth’s art often depicted everyday life in Alabama — portraits of houses, people, farm animals and his dog, Toto. But it also ranged over the architecture of faraway places, as in his paintings of Washington landmarks and his geometric scenes of New York City skyscrapers.
His art is in the permanent collections of the Museum of American Folk Art in New York, the Smithsonian Institution, the High Museum of Art and the Montgomery Museum of Fine Arts. It was the subject of a book, “The Life and Art of Jimmy Lee Sudduth" (Montgomery Museum of Fine Arts, 2005), by Ms. Crawley. ---NY Times, September 9, 2007




  Jimmy Lee Sudduth Red house on plywood *
Mud and pigment on plywood
Ht. 26 3/4" W 24 1/4"
Jimmy Lee Sudduth is an African-American folk artist whose evocative, textured paintings made partly from Alabama mud are prized by collectors around the world. A self-taught artist who began painting as a very small child, Mr. Sudduth is renowned for the effects he could produce with his own homemade paint, which consisted of mud blended with a variety of common substances — soot, axle grease, sugar, coffee grounds and much else — to lend it color and texture. Applied and worked with his fingers, the mud assumes contour, line and form. Painted on scrap lumber, sheet metal and most commonly on plywood, Mr. Sudduth’s art often depicted everyday life in Alabama — portraits of houses, people, farm animals and his dog, Toto. But it also ranged over the architecture of faraway places, as in his paintings of Washington landmarks and his geometric scenes of New York City skyscrapers.
His art is in the permanent collections of the Museum of American Folk Art in New York, the Smithsonian Institution, the High Museum of Art and the Montgomery Museum of Fine Arts. It was the subject of a book, “The Life and Art of Jimmy Lee Sudduth" (Montgomery Museum of Fine Arts, 2005), by Ms. Crawley. ---NY Times, September 9, 2007




  U.S. Flag on tin (Untitled) *
Paint on tin
Ht. 26 1/2" Width 44 1/4"
"R.A. Millers tiny chocolate brown house sits on a muddy hill overlooking Old Cornelia Highway in unincorporated Rabbittown, just outside of Gainesville. The buildings inner skeleton slumps with age and the outer walls look puffy and waterlogged...

All around the structure the folk artist used to nail his works, most of which were awkwardly proportioned cut-outs, tin-snipped from thin metal. When a visitor would find something he wished to purchase, Miller would lift a pair of pliers from his paint-smeared trousers and free the work from the nail that held it to his house.
A tall, solid, bespectacled man with an ever-packed lower lip full of "gentle mild" snuff, Miller then added his signature in wavy cursive with a paint pen, sometimes also adding a mildly mischievous admonishment. "Hes loose, aint he," the artist might say, handing over a deep blue devil. "Raidin the country, killin, lootin, doin everything but the right thing... No dont let that thing get ya!"
...R.A. Miller dropped out of school when he was 12 to go to work in a cotton mill. He retired at 65 after his sight went bad due to glaucoma. To keep busy, he started making whirligigs, spinning wind toys he used to fashion as a boy. "I never did think nothin about it [making art] when I could see," he explains in oh-so-folk-art logic. "I got to where I couldnt drive and couldnt go nowhere... I just got to doin this to have something to do."
Renown soon came to Rabbittown via the Athens music express. In 1984 R.E.M. spliced images of Millers whirligigs into their video for "Pretty Persuasion." Incidentally, that song was off the "Reckoning" album, whose cover art was a Stipe/Finster folksy collaboration. "R.E.M. bands from Athens was the first ones even to come," says Miller, who as a result of the exposure became known to many as The Whirligig Man. "They still come up here every once in awhile."
Millers breezy pieces soon became a hip commodity as the Stipe-inspired folk art contagion infected Athens, first inside and then out....

Sadly, R. A. passed away on Tuesday, March 7, 2006 at the age of 93. --Detrourart.com




  Ken Gentle "Nude in the Garden", 2009 *
Mixed Media Collage
Ht. 9 1/2" W. 7 1/2"
Alabama native "BLACKTOP" is a self-taught artist who began his art as a way to share the visions and dreams he has experienced growing up in the South. He has been painting for most of his life using water colors, enamels and acrylics, and most of his paintings start with a base of "black tar" on wood or cardboard (hence the name "Blacktop").




  Ken "Blacktop" Gentle Four Women *
Acrylic on Paper
Ht. 13 1/4" W. 10 1/4"
Alabama native "BLACKTOP" is a self-taught artist who began his art as a way to share the visions and dreams he has experienced growing up in the South. He has been painting for most of his life using water colors, enamels and acrylics, and most of his paintings start with a base of "black tar" on wood or cardboard (hence the name "Blacktop").




  Ken "Blacktop" Gentle "Old Glory", 2008 *
Tar and paint on wood panel
Ht. 21" W. 20 1/2"
Alabama native "BLACKTOP" is a self-taught artist who began his art as a way to share the visions and dreams he has experienced growing up in the South. He has been painting for most of his life using water colors, enamels and acrylics, and most of his paintings start with a base of "black tar" on wood or cardboard (hence the name "Blacktop").




  Ronald Coopers Truck to Hell *
Painted wood and plastic sculpture
Ht. 8 1/2" L. 12 3/4"
Ronald and Jessie Cooper, from Fleming County, make folk-art objects in the Appalachian Mountain tradition. Both are also self-taught painters.

The Coopers started making art after Ronald was in a serious automobile accident that left him disabled. Forced to live a changed life, he took up whittling animals in the Kentucky mountain craft style. Meanwhile, wife Jessie decided to try her skill as a sculptor. Because of the circumstances that brought them to this new career, Ronald Cooper describes the work he and Jessie create as a gift from God.

And in fact, Biblical scenes dominate the work of both Coopers. A frequent theme is the conflict between good and evil, though the two artists approach it a little differently. Ronald sometimes gets his ideas from nightmares he has had, while Jessie’s work is more literal. They both paint on old furniture and print messages on their pieces.

Morehead State University has examples of both Coopers’ work in its permanent collection. Ronald’s work is also housed in the American Visionary Art Museum. --Detourart.com




  Jerry Coker *
Tin Mask
Ht. 14 7/8*
Jerry Coker, an artist who makes forceful masks and imposing sculptures representing personages remembered from his childhood out of rusted roofing tin, considers himself a "rural Renaissance man" turned professional artist. His striking masks have a vaguely familiar look--perhaps a cross of the work of the French artist Jean Dubuffet and some of the institutionalized artists that Dubuffet collected. Coker, however, is not institutionalized, although he is fond of saying, "Im a screwed-up guy. I traveled as a musician with pop bands, I graduated from college, but what I really want to be is a classical sculptor, and what I am is a folk-stream Expressionist, a self-taught Cokerian." --"Contemporary American Folk Art", By Chuck and Jan Rosenak




  Jerry Coker Tin Mask *
Tin Mask
Ht. 15 1/2"
Jerry Coker, an artist who makes forceful masks and imposing sculptures representing personages remembered from his childhood out of rusted roofing tin, considers himself a "rural Renaissance man" turned professional artist. His striking masks have a vaguely familiar look--perhaps a cross of the work of the French artist Jean Dubuffet and some of the institutionalized artists that Dubuffet collected. Coker, however, is not institutionalized, although he is fond of saying, "Im a screwed-up guy. I traveled as a musician with pop bands, I graduated from college, but what I really want to be is a classical sculptor, and what I am is a folk-stream Expressionist, a self-taught Cokerian." --"Contemporary American Folk Art", By Chuck and Jan Rosenak




  Cher Shaffer Mixed media drawing, Untitled *
Mixed media on watercolor paper
Ht. 10" W. 8"
Cher Shaffer, was born in Georgia, and spent most of her life living in the rural Appalachian region. Her mother was of Cherokee/Mulengeon descent, her father was German, and Cherokee. She feels that her work is both informed, and guided by ancestors. She was raised on a farm, and has always gone to the natural world for inspiration, and comfort. Shaffers work is visionary, and at times narrative in content.

Her most notable quote from the book OAppalachia, is her artist statement. "When people ask me if I am a trained artist, I have to laugh. Im not a trained anything, Im barely civilized."

Shaffer is a self taught artist of over 35 years, creating in a wide variety of mediums, including paintings on paper, canvas, wood, and found objects. She creates haunting figures that she calls "spirit dolls", and a variety of cut tin and paper figures.

Some of the notable collectors are celebrities such as Whoopie Goldberg, Rob Reiner, Jane Fonda, Henry Winkler, and more. Her paintings hang in the permanent collection of the state of West Virginia, and in the collection of Jay and Sharon Rockefeller.

She was included in the landmark book OAppalachia, and a subsequent traveling exhibit. She was featured in 1989 on the Today show, and was the subject of a documentary film that was released in England to the BBC. --Detourart.com




  Beaded crown for "Obatala" *
Beads and natural fiber
Ht. 24 1/2"
Beaded crowns are worn by the oba as a symbol of authority. The white crown is worn in celebration of the various deities of whiteness. Obatala is the god who creates human bodies. This crown is considered contemporary and probably post 1960. While ceremonies are ongoing requiring beaded regalia and crowns, many are also made now in response to the western market. This crown while beautiful shows little signs of wear and is, therefore, included in the folk art gallery.




  "Metallic City" 2004 *
Oil on canvas
Ht. 15 1/2" x W. 24 1/2"
Jan Scott Boyer was born in Indiana in 1941. He attended area Catholic schools but suffered from a learning disability and never attended high school. He began painting as a teenager and did both landscapes and abstracts. He traveled and sold his canvases all over the Midwest but was overcome by stress and placed on disability. His career has been a study of contrasts. He has been a three time prize winner at the Hoosier Salon. In 1989, he created "Allism," an abstract motif that depicted horrendous scenes of torture. He has been placed under scrutiny because of a letter writing campaign to area art professionals but he has also been featured in local and national outsider art shows. The content of his work continues to evolve, as does his process. An overview of his paintings of the last fifteen years or so will show the deliberate changes he has made. The transition is never sudden but the viewer can see old merging with new forms until he has adapted to his latest subject matter and painting techniques. He will spend weeks completing details on his canvases, some containing hundreds of figures, buildings, or objects from his very creative imagination.




  “Kingdom of Yore" *
Oil on canvas
Ht. 16 1/2" W 24 1/2"
Jan Scott Boyer was born in Indiana in 1941. He attended area Catholic schools but suffered from a learning disability and never attended high school. He began painting as a teenager and did both landscapes and abstracts. He traveled and sold his canvases all over the Midwest but was overcome by stress and placed on disability. His career has been a study of contrasts. He has been a three time prize winner at the Hoosier Salon. In 1989, he created "Allism," an abstract motif that depicted horrendous scenes of torture. He has been placed under scrutiny because of a letter writing campaign to area art professionals but he has also been featured in local and national outsider art shows. The content of his work continues to evolve, as does his process. An overview of his paintings of the last fifteen years or so will show the deliberate changes he has made. The transition is never sudden but the viewer can see old merging with new forms until he has adapted to his latest subject matter and painting techniques. He will spend weeks completing details on his canvases, some containing hundreds of figures, buildings, or objects from his very creative imagination.




  " Structure of Time" *
Oil on canvas
Ht. 23 1/2" W. 29"
Jan Scott Boyer was born in Indiana in 1941. He attended area Catholic schools but suffered from a learning disability and never attended high school. He began painting as a teenager and did both landscapes and abstracts. He traveled and sold his canvases all over the Midwest but was overcome by stress and placed on disability. His career has been a study of contrasts. He has been a three time prize winner at the Hoosier Salon. In 1989, he created "Allism," an abstract motif that depicted horrendous scenes of torture. He has been placed under scrutiny because of a letter writing campaign to area art professionals but he has also been featured in local and national outsider art shows. The content of his work continues to evolve, as does his process. An overview of his paintings of the last fifteen years or so will show the deliberate changes he has made. The transition is never sudden but the viewer can see old merging with new forms until he has adapted to his latest subject matter and painting techniques. He will spend weeks completing details on his canvases, some containing hundreds of figures, buildings, or objects from his very creative imagination.




  Mixed media collage on paper *
Mixed media on paper
Ht. 17" W. 14" w/o frame
Edward is entirely self-taught. While he has "doodled" all along, he was extremely shy about showing them to anyone. Edward grew up in Toronto, Canada, left home at 17, and worked in construction. Later, he put himself through night school and earned a degree in horticulture. Shortly before he picked up the paint brush, he began doodling on everything, "I knew something was about to happen". But, Edward wasn’t thinking of art when he next found himself in Sante Fe, New Mexico, a place renown for galleries, artists, and creative expression. What possessed him to buy that fateful paintbrush in September of 2002? "I felt like I needed to paint something. In Sante Fe, you can see art every day, it’s all over and I just found it easy. It just happened. I can’t explain it. Beautiful things happen at the time and place when they’re supposed to, you know?" It does turn out that the sun in Sante Fe is good for drying his works, which are getting bigger and can take weeks to dry. "I love the challenge of big canvas."




  Contemporary New Britain Head *
Wood, pigment
Ht. 25 3/8"
This is a very unusual 20th century object made in New Britain in the South Pacific


    Sold    

  Milling machine folk art "mask" *
Steel
Ht. 10 1'2" w/o mount
The term found art, more commonly found object (French:objet trouv) or ready made, describes art created from the undisguised, but often modified, use of objects that are not normally considered art, often because they already have a mundane, utilitarian function. Marcel Duchamp was the originator of this in the early 20th-century. Wikipedia


    Sold    

  Contemporary kneeling woman *
Wood
Ht. 39 1/2"
This imposing sculpture was made by an Akan craver on the West Coast of Africa




  Painting of a house with two trees *
Oil and tar on board
Ht. 24" x W. 24"
Alabama native "BLACKTOP" is a self-taught artist who began his art as a way to share the visions and dreams he has experienced growing up in the South. He has been painting for most of his life using water colors, enamels and acrylics, and most of his paintings start with a base of "black tar" on wood or cardboard (hence the name "Blacktop").




  Two Dancing Ladies *
Oil and tar on board
Ht. 24" x W. 24"
Alabama native "BLACKTOP" is a self-taught artist who began his art as a way to share the visions and dreams he has experienced growing up in the South. He has been painting for most of his life using water colors, enamels and acrylics, and most of his paintings start with a base of "black tar" on wood or cardboard (hence the name "Blacktop").




  "Girl in Front of House" *
Crayon on paper
20" x 17"
Charlie introduced himself to Sterling Strauser when Sterling learned of the work of “Old Ironsides" Pry, when they both resided in the Weatherwood Home for the Aged. Dieter drew delicate scenes of his private, childlike world familiar to him.

Charles "Charlie" Dieter (1922-1986)
Weatherly, Pennsylvania. The sun shines brightly in Dieter’s work, and his stiff but serene existence emanates from his work. Dieter drew on paper and paperboard with pen, ink, pencils and crayon.




  "Hits Yore Play Clyde . CLYDE!" *
Oil on panel
Ht. 11 1/2" W. 24"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  Equestrian figure pull toy *
Wood, paint, fiber
32" x 24"
The wear patterns on this colonial equestrian figure suggests that it has very good age and is probably pre-1950. Possibly it was made as a toy for a colonial. Regardless, it is one of the finest examples of African folk art that I have seen.




  Flange in a snowflake design *
Cast iron
Diam 6 5/8"
This flange dates from 1900 to 1950, and was used on machinery that no doubt is now obsolete. The "snowflake" design creates the illusion that this was intentional sculpted.




  Latino prison art on a handkerchief *
Ink on cotton handkerchief
16" x 17"
Chuck and Jan Rosenak Collection - Examples from the Rosenaks collection are frequently picked for national exhibitions, as representative book illustrations and as classic examples of contemporary American folk art. The fact that their collection traveled to Lausanne, Switzerland, to be the first American folk art collection shown at the "Collection de lArt Brut" testifies to its quality and uniqueness. Many of the pieces have now been donated to the National Museum of American Art in Washington D.C.




  Latino prison art on a handkerchief *
Ink on cotton handkerchief
16" x 17"
Chuck and Jan Rosenak Collection - Examples from the Rosenaks collection are frequently picked for national exhibitions, as representative book illustrations and as classic examples of contemporary American folk art. The fact that their collection traveled to Lausanne, Switzerland, to be the first American folk art collection shown at the "Collection de lArt Brut" testifies to its quality and uniqueness. Many of the pieces have now been donated to the National Museum of American Art in Washington D.C.




  Latino prison art on a handkerchief *
Ink on cotton handkerchief
16" x 17"
Chuck and Jan Rosenak Collection - Examples from the Rosenaks collection are frequently picked for national exhibitions, as representative book illustrations and as classic examples of contemporary American folk art. The fact that their collection traveled to Lausanne, Switzerland, to be the first American folk art collection shown at the "Collection de lArt Brut" testifies to its quality and uniqueness. Many of the pieces have now been donated to the National Museum of American Art in Washington D.C.




  Haitian Voodoo Flag - Cowboy *
Sequins on fabric
32" x 28"
Antique Voodoo flags are traditionally somewhat minimal in design. In the past several decades, the designs have become quite elaborate, blending the new and the old. Voodoo flags have become quite collectible.




  Haitian Voodoo flag Three Men Standing *
Sequins on fabric
33" x 40"
Antique Voodoo flags are traditionally somewhat minimal in design. In the past several decades, the designs have become quite elaborate, blending the new and the old. Voodoo flags have become quite collectible. The three men here represent faith, hope, and charity.




  Painting entitled "Last Supper" *
Carved wood, stucco, acrylic
36.5" x 65.75"
Fernando Bimonte is a well-known Day of the Dead painter and muralist, originally from Uruguay and now living in New Mexico.




  Painting entitled: "Homecoming in Donaldsonville" *
Oil on canvas board
17" x 21"
Batiste was born in Louisiana on March 15, 1962. His work shows the impact on his life as he was raised in the deep south as an African American. His work is featured prominently in the collection at Southern University. Billy Bob Thornton is a collector of his work.




  Painting entitled "Mans Portrait" *
Oil on canvas
35" x 45"
Antoinette Schwab is a Haitian artist who was represented by the Jay Johnson American Folk Art Gallery in New York City. Johnson passed away in 1990.




  "Thanksgiving" *
Acrylic on canvas
22.5" x 18.5"
Julie Shronk is an emerging artist.




  "I Aint Gwan Lie Bout a Thing..." *
Oil on panel
Ht. 18" W. 24"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "LJoie DVivre, 1999" *
Oil on metal saw
Ht. 7 3/4" L. 33 1/4"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "The Reason We Bout Outa Stove Wood..." *
Oil on panel
Ht. 16" W 20 1/4"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "I Hope This Ol Hosss Feets Aint ...." *
Oil on panel
Ht. 13 1/2" x W. 22"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "Round Heah You Gotta Work to Eat" *
Oil on panel
Ht. 16 1/4" W. 24 1/4"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "We Dont Sell Nuthin on Sunday...." *
Oil on Panel
Ht. 12 3/4" W. 15 3/4"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "The End of a Better Day, 1999" *
Oil on panel
Ht. 12 3/4" W. 15 3/4"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "This Were a Perty Place...." *
Oil on panel
Ht. 9" x 21 3/4"
Scooter Osburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "Outhouse" *
Painting on a circular saw blade
Diam. 7"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "Marvins New-Crop, Sargum Lassez...." *
Oil on panel
Ht 21 1/2" x W. 29"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "River Bottom Pea Piekin" *
Oil on panel
Ht. 22 3/4" x W. 29"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "Catchin Mudbugs..." *
Oil on panel
Ht. 23 3/4" xW. 29 1/4"
Scooter Orsburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.




  "Couple" *
Mixed Media
Ht. 30" W. 22"
Holly is an up and coming emerging artist.




  Foxes Swimming Pool *
Mixed media
Ht. 15" W. 20"
Brooks Yeoman was born in 1957 in Shelby, North Carolina. As a mentally challenged artist, he has been called "a man of few words and a thousand brushstrokes.". He has an amazing sense of detail and memory of events. He has drawn since childhood.




  Cotton Farm *
Paint on canvas
Ht. 22" W. 28"
Zelle Manning was born in 1940 and lives in Mississippi. She began painting at the age of 44. She is described as a "primitive painter" who captures the landscape and spirit of her part of the South. Her paintings have won awards and she is also in the permanent collection of the Morris Museum of Art in Augusta, Georgia.


    Sold    



  Family Feuds *
Paint on wood
Ht. 26" W. 41"
This is both an iconoclastic and humorus look at family life.




  Farm machinery cultivator blade *
Cast iron
Diam 12"
This cultivator blade was used on farm machinery in the first half of the 20th century. The design evokes the sense of a spiral galaxy. Great sculpture.




  Farm machinery cultivator blade *
Cast iron
Diam. 12"
This cultivator blade was used on farm machinery in the first half of the 20th century. The design evokes the sense of a spiral galaxy. Great sculpture.




  Farm machinery cultivator blade *
Cast iron
Diam. 12"
This cultivator blade was used on farm machinery in the first half of the 20th century. The design evokes the sense of a spiral galaxy. Great sculpture.




  Neckrest *
Wood, lacquer
This is a late 19th century Chinese neckrest from a private collection in Santa Fe, New Mexico.




  Neckrest/pillow *
Wood
Ht. 16 1/2 w/o base
This neckrest has obviously seen a great deal of use, and is probably early 20th century at the latest. Great sculpture.




  Paper cutouts of animals and birds *
Paper, pencil
Ht. 14 3/4 x 17" framed
19th century silhouettes are normally done in black on white paper. This unusual white on blue is charming, intricate, and in excellent condition.




  Ethiopian Rice shovels early 20th century *
Wood
Ht. 41", 42" 36"
This grouping of Ethiopian rice shovels is in great condition and shows extensive use. Great sculpture.


    Sold    



  Ivory Coast colonial figure *
Wood, paint
Ht. 11 1/2"
This post 1950 Celtic basketball player is a nice example of African folk art.




  "Reggie Doesnt Know What He is Doing", 1995 *
Craypas on poster paper
41" x 31"
Contemporary African American Artist, Reginald K Gee, is known for Visionary Neo-Expressionism Art. Some of the themes explored by this visionary artist include playful musicians, surreal landscapes and seascapes, mystical dreams and fantastic visions.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Religious theme painting *
Enamel on masonite
8" x 12"
Lucas Lorenzo and his sons Santiago and Aureliano, live and work in the remote craft village of Xalitla, in the state of Guerrero.




  Painting entitled " D.C. Street Scene" *
Oil on canvas
28" x 24"
Eisner is an emerging artist that is beginning to have a following.




  Painting entitled "Midnight Cafe" *
Paint on board
24" x 18.5"
Vivian Putnam is an emerging artist.




  Painting etitled "Mans Portait" *
Oil on canvas
35" x 45"
Antoinette Schwab is a Haitian artist who was represented by the Jay Johnson American Folk Art Gallery in New York City. Johnson passed away in 1990.




  Drawing entitled "Red Headed Nudes" *
Pencil and crayon on paper
11" x 14"
Henry Speller was born in 1900 into a family of Mississippian sharecroppers. In 1941, he moved to Memphis, inspired by his upbringing and the television he watched where he began to draw. He died in 1996.




  Painting entitled "Regatta Fest" *
Paint on paper
29" x 22"
John Nix is an emerging artist.




  Painting entitled "Hot We Got" *
Paint on wooden board
37" x 27"
Jinks was born in 1921 into a sharecropper family in Locust Grove, Georgia. He moved to Atlanta where he worked for the department of sanitation. Jinks is known for his bold imagery, inspired by his life and imagination.




  West African poster "Booze is Life" *
Paint on pressed board
Ht. 14"
This West African poster is pointing out the evil of booze in your life. These advertisements have become quite collectible as folk art.




  West African poster "Lamentation" *
Paint on pressed board
Ht. 19"
This West African poster is trying to raise money to combat sickle cell disease. On the reverse is a silhouette of a man. Black on white background.




  "Hunger Strick, Can Nigeria Survive It" *
Paint on pressed board
Ht. 18 1/2"
This West African poster portrays a man starving, begging for food. This poster was certainly created to raise the awareness of Nigerians to help their countrymen.




  "One In-Town Hairstyles" *
Paint on thin plywood
Ht.29"
This West Africa poster is advertising four different hairsyles for "people with class".




  Wooden sculpture of a District Commissioner *
Wood
Ht. 9 1/2"
Thomas Ona was a renowned Yoruba artist who carved colonial and commemorative figures for the early tourist trade in Nigeria. Working from the turn of the century into the fifties, he produced light wood figures with a traditionally made Yoruba adze and knife, and decorated the carvings in polychrome colours. Many consider Onas work the beginning of African folk art.




  Ndebele, Kwa Ndebele, South Africa dance staff *
Beads, wood
Ht. 21 1/2"
This Ndebele beaded staff was no doubt inspired by newly erected telephone poles.




  Two small figures in a box *
Pencil drawing on craft paper
18 x 25 3/4
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  3 Standing Males-One Bald and all 3 with Mustaches *
Crayon and pencil on craft paper
18 x 22 1/4
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Standing turquoise bear with man *
Pencil and crayon on craft paper
18 x 24 1/2
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Standing adult holding an umbrella *
Pencil drawing on craft paper
18 x 21
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Baby sippy cup with two armatures *
Pencil, marker, and crayon on craft paper
12 x 18
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Two green plants on blue, 1 green on black *
Crayon, pencil, and marker on craft paper
12 x 18
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  3 Standing figures with horizontal stripes *
Crayon and pencil on craft paper
18 1/8 x 20 3/8
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Building with two orange domes *
Crayon, pencil, and marker on craft paper
12 x 18
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Five figures, 1 green, 1 blue shirt *
Pencil, marker, and crayon on craft paper
18" x 32 1/2"
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Two standing figures-- 1 pink suit 1 blue suit *
Crayon and pencil on craft paper
18 1/8 x 22 1/2
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Pale yellow drawing with 2 figures w/ umbrellas... *
Crayon and pencil on craft paper
18 1/8 x 24 1/2
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  4 sniper rifles with blue window *
Crayon and pencil on craft paper
18 x 19 1/8
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Blue flowers with red petals *
Crayon and marker on watercolor paper
11 7/8 x 17 7/8
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Standing male purple shirt and brown hair *
Pencil and crayon on craft paper
14 3/4 x 11 1/4
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Standing male with purple shirt *
Crayon and pencil on craft paper
14 7/8 x 11 3/4
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Standing Man with V-shaped Torso *
Crayon and pencil on craft paper
14 3/4 x 11 3/4
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Male football player with orange uniform *
Crayon and marker on craft paper
15 3/4 x 20 1/2
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Standing tall man with orange shirt *
Crayon and pencil on craft paper
38 1/8 x 19 1/2
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story and the way Llanders communicates with the outside world.




  Red house with moon and sun *
Crayon and marker on paper
15 3/4 x 21 3/4
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Male and female standing blue figures *
Markers and crayon on paper
26 x 32 3/4
Sammy Landers, who is a native of Hughes Arkansas, has an African American perspective of his world and the deep south that is unique. Like any good artist, each work of art becomes a story, and the way Landers communicates with the outside world.




  Black cat with two birds *
Acrylic on panel
Ht. 8" x W. 11"
Oberholtzer is known for his dramatic use of color in painting ocean and land-based creatures from his home base of New England. This charming scene is small but very compelling.




  Beaded Yoruba crown post 1950 *
Beads, fabric
Ht. 31"
Historically, the tradition of Yoruba beadwork has extended back in Nigeria for centuries. Now, these contemporary artists are making extraordinary folk art that has taken elements of both the past and the present.




  Yoruba beaded bottle *
Bottle, beadwork
Ht. 11 3/4"
Historically, the tradition of Yoruba beadwork has extended back in Nigeria for centuries. Now, these contemporary artists are making extraordinary folk art that has taken elements of both the past and the present.




  "River Bottom Pea Piekin" *
Oil on panel
Ht. 22 3/4" x W. 29"
Scooter Osburn, a self taught artist from Arkansas, should be considered a major force in the outsider community in the future. High resolution photos are available on request.





There is no guarantee that the objects listed above are still available. Serious inquiries on all objects may be directed to John at jbuxton@arttrak.com or 972-239-4620.

African Art Gallery Galleries Tribal Art appraisers buying buyers guide 19TH 20TH ABAKWARIGA ABELAM ABELUM ABORIGINAL ABORIGINE ABRA ABROM ABRON ABUA ABUJA ACEH ACHAMAWI ACHAMAWIT ACHE ACHIRI ACHOLI ACHOMAWI ACHUMAWAI ACHUMAWI ACOMA ACOMITA ACRE ADIO-BOMBEH ADIOUKROU ADJA ADMIRALITY ADMIRALTY ADOUMA ADUMA AENGALA AFIKPO AFO AFRICA AFRICAN AFRO AFRO-EUROPEAN AFRO-PORTUGUESE AFRO-POTUGUESE AGNI AGUADA AGUAS AGUINO AGUSTIN AHU AHUAYO AITA AITAPE AITU AKAJU AKALE AKAMBA AKAN AKKADIA AKO AKPARABONG AKUBA AKUMA AKYE ALAMBLAK ALASKA ALASKAN ALBAN ALEUT ALEUTIA ALEUTIAN ALGONKIAN ALGONQUIAN ALGONQUIN ALLIGATOR RIV ALOR ALTIPLANO AMAHUACA AMAKI AMARRO AMATL AMAUTIK AMAZON AMAZONIAN AMBAQUISTA AMBETE AMBRYM AMECA AMERICA AMERICAN AMUESHA ANA ANASAZI ANCESTOR ANCIENT ANCON AND ANDEAN ANGA ANGAMASSALIK ANGAMI ANGAS ANGASAMALIK ANGKOLA-BATAK ANGKOR ANGMASSALIK ANGOLA ANGORAM ANNANG ANTANUSI ANTIQUE ANTIQUES ANTIQUITIES ANVIK ANYANG ANYI AOBA APACE APACHE APAHE APALAI APAPAHO APAPCHE APAYAO APAYO APIA APPRAISAL APPRAISALS APPRAISERS APRIL ARA ARACUANO ARACUNA ARAGUIIA ARAHUACAS ARAMBAK ARANDA ARAPAHO ARAPESH ARAPHO ARAUCANO ARAWAK ARAWE ARCHAEOLOGY ARCHIPELAGO AREKUNA ARGILLITE ARIKARA ARKANSAS ARNEHEMLAND ARNHEM ARRUSI ART ARTEFACTS ARTIFACTS ARTIST ARTS ARTTRAK ARUNDA ARUSSI ASAFO ASALAMPASU ASANTE ASANTI ASHANTE ASHANTI ASHIRA ASHITTEN ASIA ASIAN ASMAT ASSAM ASSINABOINE ASSINBOIN ASSINBOINE ASSINIBOIN ASSINIBOINE ASSINNOBOIN ASSOUAN ASSUMPTION ASTROLABE ATA ATACAMA ATACAMAS ATACAMENO ATAORO ATCHIN ATCHOMAWI ATHABASCAN ATHABASKAN ATHABASKIN ATHAPASCAN ATHAPASK ATHAPASKAN ATIE ATIU ATJEH ATLANTIC ATLATL ATONI ATSUGEWI ATTAKAPA ATTIE ATTU ATTUE ATTYE ATUTU ATYE ATZCAPOTZALCO AUCTIONS AUGUSTIN AUSTRAL AUTLAN AVAMBO AWKA AYKE AYMARA AZANDE AZTEC AZUERO BAACS BABAFO BABANKI BABANKI-TUNGO BABEMBE BABETE BABINJI BABWEMBE BABWENDA BADJAO BADONDO BAFANG BAFFIN BAFO BAFUM BAFUT BAGA BAGAM BAGAN BAGANDA BAGIRIMI BAGIRMI BAGOBO BAHAM BAHAU BAHEMBA BAHIA BAHINEMO BAHUANA BAINING BAJOKWE BAKALAVA BAKONGO BAKUBA BAKUNDU BAKWA BAKWA-LUNTU BALCKFOOT BALCKWATER BALEGA BALI BALUBA BALUBA-HEMBA BALUBA-WAZULI BAM BAMANA BAMBA BAMBALA BAMBARA BAMBOLE BAMELEKE BAMENDA BAMESSING BAMI BAMILEKE BAMOUN BAMTUSH BAMUM BAMUN BAMUNAM BANDA BANDI BANGALA BANGANGTE BANGWA BANJA BANJO BANKONI BANKS BANKUNI BANNOCK BANTUSH BANZA BAOULE BAPENDE BARA BARAVA BARI BARIBA BAROQUE BAROTSE BAROTZI BARRANQUILLA BARROW BASA BASARI BASHILELE BASIKASINGO BASIN BASINGE BASLAMPASU BASON BASONGE BASSA BASUTO BATA BATABWA BATAK BATCHAM BATEKE BATETELA BATIE BATLING BATSHIOKO BAULE BAULE-AGNI BAVILI BAY BAYA BAYAKA BAYE BEADS BEADWORK BEARING BEATIAN BECHUANA BEKOM BELA BELANDA BELLA BELLE BEMBA BEMBE BENA BENA-KANIOKA BENALULUA BENA-LULUA BENE BENELULUA BENIN BENUE BEOTHUK BERBER BERING BERTHOLD BETATAKIN BETE BETI BETSI BIDA BIDAHOCHI BIDJOGO BIDJUGO BIFANKA BIJEMA BIJOGO BIJUGO BINI BINI-PORTUGESE BINJA BINJI BIOMA BIOMBO BIOTABIP BIRDJI BIRD-OF-THE-NIGHT BISA BISMARCK BISSAGOS BIWAT BLACK BLACKFEET BLACKFOOT BLACKWATER BLAS BLOOD BLUNDEN BOA BOARD BOBANGI BOBO BOBO-FING BOCAS BODY BOIKEN BOKI BOKYI BOLI BOLIVIAN BONGO BONGO-KRIEJ BONI BONTOC BONTOK BOOKS BORA BORNEO BORORO BOTI BOUGAINVILLE BOXES BOYO BOY'S BOZO BRASS BREUIG BREVIG BRISTOL BRITAIN BRITISH BRON BRONZE BRULE BRUMER BRUNCA BUBU BUCKSKIN BUDJIA BUFFALO BUGANDA BUGUNI BUILDER BUKA BULI BULOL BULOM BULU BUMA BUNDU BUNGAIN BUNYORO BURA BURANA BURKINA BURKINO BURUNDI BUSH BUSHMEN BUSHONGO BUT BUTTERFLY BUTUAN BUXTON BUYE BUYERS BUYU BWA BWAKA BWAMI BWENBE BWENDE BWITI CABANA CADDO CADDOAN CAHANILLA CAHUILLA CAJAMARCA CALABAR CALEDONIA CALEDONIAN CALIENTES CALIF CALIFORINA CALIFORNIA CALIMA CALRA CAMEROON CAMINO CAMPA CANADA CANADIAN CANYON CAOQUE CAPE CAPULI CARAJA CARCHI CARCHI-NARINO CARIB CARLOS CARPETS CARVED CARVER CARVERS CARVINGS CASA CASAS CASAS GRANDES CASCADES CASSO CAST CASUARINA CASUARINE CATALOGUES CATLINITE CAUCA CAYOTE CAYUGA CAYUSE CEDAR CENDERAWASIH CENT CENTRAL CENTURY CERAMICS CEREMONIAL CERRILLOS CHACO CHAL CHALCHUAPA CHALITMUT CHAMBA CHAMBRI CHANCAY CHANNEL CHARLOTTE CHAVIN CHAVINOID CHEE CHEHALIS CHEMBA CHEMEHEUVI CHEMEHUEVE CHEMEHUEVI CHEMEHUVEVE CHEMHUEVI CHEMUEVI CHEROKEE CHETIMACHA CHEVRON CHEYENNE CHIAPAS CHIBACHI CHICHAONA CHICHICASTENANGO CHICKAHOMINY CHIHUAHUA CHIKU CHILCOTIN CHILKAT CHIMAVO CHIMAYO CHIMBU CHIMILA CHIMU CHINESC CHINESCO CHINESCO-NAYARIT CHINOOK CHINQUILLA CHIPENDAI CHIPPEWA CHIPWEYAN CHIRACAHUA CHIRICAHUA CHIRIQUI CHITIMACHA CHOCHITI CHOCHOLA CHOCO CHOCTAW CHOCTOW CHOISEUL CHOKO CHOKWE CHOLULA CHONTAL CHOPI CHOROTEGA CHORRERA CHRISTOBAL CHUGACH CHUILLA CHUKCHANSI CHUKCHI CHUMASH CHUMU CHUPADERO CHUPICARO CHUPICUARO CIBOLA CIHPPEWA CIPMUK CIRCUMCISION CLALLAM CLAR CLARA CLARAJ CLASSICAL CLATSOP CLOTH CLSARA CO COAQUE COASK COAST COASTAL COCHABAMBA COCHIN COCHITA COCHITI COCLE COCO-DE-MER COCOPAH COL COLA COLIMA COLLECTION COLLECTOR COLLINGWOOD COLMA COLOMBIA COLONIAL COLORADO COLUMBIA COLVILLE COMANCHE COMMACHE COMMANCHE COMMERCIAL COMPUTER CONCHO CONGO CONGOLESE CONTE CONTEMPORARY COOK COOLA COORG COPAN COPENA COPPER COPTIC COQUIMBO CORNALINE COSTA COTZUMALHUPA COUNTRY COUNTY COUSHATTA COWBOY COWICHAN COWLITZ COWRIE CRAFTS CREE CREEK CREEK-PAWNEE CRISTOBAL CROSS CROW CROWN CRUZ CUANHAMA CUASMAL CUBISM CULTURE CUNA CUPISNIQUE CUPS CUYAMUNGUE CUZCO DABAKALA DAFINA DAFING DAGARTI DAKA DAKAKARI DAKOTA DAMARA DAMPIER DAN DANI DAN-KRAN DAN-NGERE DAN-TOURA DAN-YAKOUBA DAR DARIEN DARLING DASO DAYAK DAYUI DE DEALER DEALERS DEBOYNE DEGHA DEL DELAWARE DELEWARE DELTA DEMBE DENEGUESE DENGESE DENGUESE DENTALIUM DESERT DIAGUITA DIAMONDE DIAULA DIDA DIEGUENO DINKA DIOMANDE DIOMEDE DIQUIS DIRECTORS DIULA DJENNE DJENNEKE DJERMA DJIBETE DJIMINI DO DOBU DOGON DOKO DOMA DOMIMGO DOMING DOMINGO DOORLOCKS DOORS DOP DOR DORSET DOUALA DOWAYO DRAMU DROMU DRUM DRUMS DSCHANG DUAKAP DUALA DUKE DUMA DURUMA DUSUN DYAK DZING EARLY EAST EASTEN EASTERN EBRIE EDAN EDO EDUCATION EDWARD EFATE EFIK EGAGHAM EGGANO EGUNGUN EILANDEN EJAGHAM EKET EKETE EKETI EKOI EKONDA EKPEYE EKPO EL ELEMA ENGGANO ENTRECASTEAUX ENZAPO-ZAPO EPRCE ERA ERET ERITREA EROMANGA ERROMANGA ERROMANGO ESCUINTLA ESHIRA ESHU ESIE ESIKOMO ESKIMO ESMERALDAS ESO ESPIRITO ETHNIC ETHNOGRAPHIC ETHNOGRAPHY ETNA EUROPEAN EVENTS EWA EWE EXHIBITION EXHIBITIONS EXPERT FACIAL FAFAPO FAKAOFO FALASHA FALASHIM FALI FALLS FANG FANT FANTE FANTI FAR FASO FE FEATHER FELIPE FERGUSSON FERTILITY FETISH FIGURE FIGURES FIKPA FINE FING FIPA FLAGSTAFF FLATHEAD FLORIDA FLY FOLSOM FOMENA FON FORT FOUMBAN FOUR FOX FRAFRA FRASER FRAZIER FREMONT FRENCH FRIEDA FULANI FULBE FUNDJ FUR FUTUNA GA GABON GABRIELENO GADDANG GAFA GALLERIES GALLERY GALOA GALWA GAMO GAN GANDA GANDHARAN GANG GANGELA GAOUSSOUKRO GARAMUT GARRA GATA GAUM GAUNACASTE GAWA GAYA GAZELLE GBAYA GBELE GBENE GCALEKA GEELVINCK GEELVINK GEH GELVINCK GEORGIA GERE GERONIMO GHANA GHIMBALA GIDKOI GIFT GIFTS GIGIJAN GILA GILDA GIMBALA GIMINI GIO GIRIAMA GIRMI GIRYAMA GISBORN GOAM GOARIBARI GOEMAI GOGO GOLA GOLEK GONGOLI GOURO GRAN GRAND GRANDAS GRANDE GRANDES GRASSFIELDS GRASSLAND GRASSLANDS GREAT GREBO GREENLAND GREENSTONE GREYLING GROS GROSSO GROUP GU GUABAL GUADALCANAL GUAM GUANACAST GUANACASTA GUANACASTE GUANACASTE-NICOYA GUANE GUANECASTE GUANGALA GUANUJUATO GUAPILES GUATEMALA GUERE GUERERRO GUERE-WOBE GUERRERO GUERRO GUERZE GUIANA GUINEA GUJERAT GUL GULF GUNI GUNWINGGO GURAGE GURMATCHE GURO GURO-BETE GURUNSI GURY GUYANA GUYANAS HABE HADENDOA HAGEN HAHAPO HAIDA HAIDU HAIR HAM HAMBA HAMEG HANO HARBOR HARDIN HARP HAT HAU HAUSA HAUSE HAVASIPAI HAVASUPAI HAWAIIAN HE HEAD HEBRIDES HEHE HEILTSUK HEMBA HEMBE HERERO HERITAGE HERMIT HIADA HIDALGO HIDASTA HIDATSA HIDATSO HIDKALA HIGHLAND HIGHLANDS HILL HIMA HIMALAYA HIMBA HISTIA HISTORY HITATSA HKUON HMONG HO HOGAN HOGON HOHOKAM HOHOKAN HOHOKUM HOLBROOK HOLO HOMBO HOMOLOVI HONDURAN HONGWE HOP HOPE HOPEWELL HOPI HOR HORIZON HORNBILL HOUMA HOUSE HOUSEHOLD HUACHO HUALAPAI HUAMAY HUANA HUANCAVILCA HUANCAVILCA- HUARI HUARMEY HUASA HUASTEC HUASTECA HUASTEE HUAXTEQUE HUDSON HUETAR HUICHOL HULI HUMAN HUMBOLDT HUMOLDT HUNGANA HUNKPAPA HUNSTEIN HUON HUPA HURON IATMUL IBAN IBEJI IBIBIO IBO IBO-EZZAGAMBO IBO-IZI IBO-KOBA ICA IDELFONSO IDIO IDLEFONSO IDOMA IE IFE IFUAGO IFUGAO IGALA IGBIRRA IGBO IGBOMINA IGOROT II III IJAW IJEBU IJO IKENGA IKERE ILDEFNSO ILDEFONSO ILDELFONSO ILDENFONSO ILDEOFNSO ILDEONFSO ILEDFONSO ILEFONSO ILSETA IMAMI IMANGOLA INCA INDIAN INDO INDONESIA INDONESIAN INGALIK INIET INITIATION INKIYAKMIN INLAND INNUIT INOUCKJOUAC INTERNATIONAL INTL INUIT INUPIAK INUPIAQ INYAI IOWA IPILI IPIUTEK IPUK IPUTAK IRAQW IRELAND IRIAN IRIQUOIS IROQOUIS IROQUIOS IROQUOIS IROQUOOIS IRQOUOIS IS ISA ISABEL ISAKO ISHAN ISIDORO ISIMSHIAN ISL ISLA ISLAMIC ISLAND ISLE ISLETA ISNEG ISOKO ITE ITSEKERE ITSOKO ITURI IUMACO IV IVI IVIO IVORIAN IVORY IWANA IWER IZAPAN IZI IZZI JABA JACARILLA JACQUINOT JAINA JALISCO JALSICO JAMA JAMACOAQUE JAMA-COAQUE JARAI JAVA JAYA JEDDITO JEDDITTO JEMEX JEMEZ JEN JENNE JERONIMO JEWELRY JICARILLA JIE JILOTEPEQUE JIMA JIMINI JINNA JIVARO JOAQUIN JOCKWE JOHN JOHNS JOKWE JONGA JOPI JOYABAJ JUAN JUJU JUKUN JUQUILA JURANA JURUENE KA KABAIL KABINDA KABYL KABYLE KACHIN KACHINA KADOVER KADUNA KAEKA KAFFIR KAGORO KAGURU KAHATKIA KAIGANI KAIRIRU KAKA KAKADU KAKAKARI KALAMATH KALAPALO KALI KALIMANTAN KALINGA KALUMBURU KALUNDWE KAM KAMANABIT KAMAYURA KAMBA KAMBOT KANA-A KANAK KANAKA KANDA KANGANAMON KANINGGARA KANIOKA KANKANAY KANO KANTANA KANYOK KAPSIKI KARA KARAJA KARAMAJONG KARAMOJONG KARAWARI KARBYLE KAREN KARIWARI KARO KAROK KAROSTO KARUK KASAI KASINGO KASSITE KATANGA KATSINA KAUER KAUILA KAVA KAVAKUYA KAVII KAWAI KAWAIISU KAWAISU KAYAN KAYAN-DAYAK KAYAPO KAYENTA KEAKA KEBE KEGURU KEHA KELITIK KER KERAM KERAME KEREBE KEREWA KEREWE KERN KETA KETE KETU KIAPKWA KIAU KICKAPOO KIFWEBE KIKORI KIKSADI KIKUTU KIKUYA KIKUYU KILENGI KILKITAT KIMBERLY KING KINUGUMIUT KINYOSI KIOWA KIOWA-APACHE KIRCH KIRDI KIRIWINA KISSI KITIMAT KIUA KIUTHATALANA KIVA KIYALIKIMIN KLAMATH KLICKATAT KLICKITAT KLIKITAT KOASATI KOBO-ACHE KOBOKOBOR KOBON KODAL KODIAK KOH KOM KOMA KOMALAND KOMBE KOMO KOMTIKAR KONDA KONGA KONGO KONOR KONSO KONYAK KOOTENAI KORANIC KOREWARI KOREWORI KORHOGO KORMALAND KORO KOROWARI KORUGA KORWAR KOTA KOTO KOTOKO KOTYITI KOU KOULANGO KRAN KRINJABO KRIS KROE KROKROTI KROOMAN KROSMERI KROU KRU KUBA KUBI KUDIAK KUIKURU KULANGO KULONGO KULUZU KUMA KUMEYAAY KUMU KUNDU KUPE KURDAITCHA KUROK KURUMBA KUSKKWIM KUSKOKWIM KUSSA KUSU KUTCH KUTCHIN KUTCHU KUTENAI KUYU KWAHU KWAKIUTL KWAKTUTI KWAKUITL KWAKUTI KWAKUTL KWAKWAKAWAKU KWALE KWALUNTU KWANGO KWELE KWERE KWESE KWILU KWOMA KWOSSE LA LABRADOR LAGOONS LAGUNA LAHU LAKA LAKE LAKEMA LAKOTA LAMBAYEQUE LAMBAYQUE LAMPONG LAMPUNG LAMU LANDUMA LANDUMAN LANU LAPLAND LAPP LAS LATE LATIN LATUKA LAU LAUNDMAN LAURENCE LAVA LAVELLA LAWRENCE LEEZAN LEGA LEI LELA LELE LEMBA LENAPE LENGOLA LENNI LEONE LESOTHO LETI LHASA LIDDED LIGBE LIGBI LIHIR LILLIUTE LILLOOET LILOOET LIMBA LIMON LINEA LISU LITTLE LLACOTA LLONGOT LO LOANGO LOATU LOBALA LOBALA-NGBAKA LOBI LOKELE LOKOTA LOMA LOMAMI LOMBLEM LOMBOK LONGUA LOOTKA LORETTE LORETTE-HURON LOS LOST LOT LOUISADE LOUISIADE LOUMBOK LOVALE LOWER LOZI LT LUANGO LUBA LUBA-HEMBA LUBA-SONGYE LUENA LUGURU LUIBA LUISENO LULA LULUA LUMA LUMBO LUMI LUMMI LUNDA LUNTU LUONGO LUTH LUWA LUWALE LUZON LWALWA LWANGO LWATWA LWENA LWIMBI MABEA MABINZA MABO MACANA MACARACAS MACHIGENGA MACKENZIE MAGAZINE MAGDALENA MAGDELENA MAGOLLAN MAHAFALY MAHDI MAHITE MAHONGUE MAIDA MAIDU MAINLAND MAIZE MAJAPAHIT MAJOARA MAKA MAKAB MAKAH MAKERE MAKONDE MAKUH MALACITE MALAGAN MALAGASI MALAI MALAITA MALAM MALANGAN MALANGGAN MALAY MALE MALECITE MALEKULA MALGASY MALI MALINKE MALISEET MALKE MALLANGAN MAMA MAMBILA MAMCHI MAMFE MANABI MANAM MANBETU MANDAN MANDANG MANDAU MANDINGO MANGAIA MANGAS MANGBETU MANGHETU MANIANGA MANIEMA MANIHIKI MANINKA MANKONI MANO MANTANO MANTENO MANUSCRIPTS MANYANGA MAORI MAOU MAPPI MAPRIK MAPS MAPUCHE MARACA MARACAIBO MARACAS MARAJA MARAJO MARAM MARAND MARAVI MARGHI MARIA MARICIPA MARICOPA MARIE MARIND MARIND-ANIM MARKA MARKED MARKHAM MAROON MARPIK MARQUESAS MARTA MARTINA MASAI MASANGO MASK MASKS MASSA MASSIM MASTERPIECES MATAKAM MATIS MATSAKI MATTHIAS MATTO MAU MAUPITI MAY MAYA MAYAN MAYO MBAGANI MBAKA MBALA MBEMBE MBETE MBOLE MBOLI MBOMA MBOOM MBOUCHI MBUDJA MBUGBU MBUNDA MBUNDU MBUTI MBUUN MCCARTYS MCDONALDS MCELMO MELVILLE MENDE MENDI MENGEN MENOMINEE MENOMINI MENTAWAI MEO MEOKO MERAT MERCEDES MERINA MESA MESCALERO MESQUAKIE META METAL METHOD METIS METIS-CREE METOKO MEXIC MEXICAN MEXICO MEZCALA MFINU MFUM MFUMTE MFUNTE MIAMI MICHAEL MICHIGAN MICHO MICHOA MICHOACAN MICHOCAN MICMAC MICRONESIAN MIDDLE MIDU MIDUE MIDWEST MIJIKENDA MILE MILNE MIMBES MIMBRES MIMEKA MIMIKA MINANGKABAU MINDANAO MINDOUMOU MINIANKA MINTADI MIRAFLORES MIRO MISC MISSION MISSISSIPPI MISSISSIPPIAN MISSOURI MITIARO MITSOGHO MITSOGO MITSOHO MITUKU MIWOK MIXTEC MIXTEX MJOAVE MOAI MOBA MOCHE MOCHICA MOCHICA-CHIMU MODOC MOGOLLON MOHAVE MOHAWK MOHICAN MOHIGAN MOHVAE MOI MOJAVE MOKI MOKO MOLUCCA MOLUCCAS MOMA MOMO MOMVU MONACHE MONDJEMBO MONGO MONGOLLAN MONGOLLON MONJEMBO MONKEY MONO MONRAGNAIS MONTAGNAIS MONTANA MONTE MONTOL MONTOYA MONTREAL MOQUEQUA MOQUI MORELOS MORESBY MORIORI MORNINGTON MORO MORTLOCK MOSQUITO MOSSI MOTUTU MOUND MOUNDBUILDER MOUNT MOUNTAIN MOUNTAINS MPAMA MT MTS MUBA MUBUGBU MUISCA MUMUYE MUNDUGAMOR MUNDURUCU MUNDURUKU MURAH MURIK MURRAY MURRUMBIDGEE MURUMBA MURUT MUSEUM MUSEUMS MUSLIM MUSUMUSU MUTUAGA MWANZA MWASH MYENE NAFANA NAFARIPI NAGA NAGALA NAGO NALIK NALU NAMBE NAMCHI NAMJI NAMPEYO NAOMBE NAPASKIAK NARINO NARRAGANSETT NASCA NASKAPI NASPAKI NATCHEZ NATIONAL NATIVE NAVAGO NAVAHO NAVAIO NAVAJO NAVAJORUG NAVAMJO NAVJAO NAVJO NAVOSA NAYARIT NAZ NAZCA NBAKA NDAAKA NDBELE NDEBELE NDELBELE NDENDE NDENGESE NDJABI NDZIMU NEBAJ NEC NEGRA NEVAD NEVADA NEVINBUR NEW NEWS NEZ NGADA NGALA NGANGA NGAOUNDERE NGATA NGBAKA NGBANDI NGBUGBU NGE NGEENDE NGELE NGERE NGGALA NGI NGOMBE NGON NGUI NGUIN NGUL NGULU NGUMBA NGUNI NGWANE NGWO NIABUA NIADI NIAGARA NIAS NICARAO NICOBAR NICOYA NIELLO NIGER NIGERIA NIHO NILE NILOTIC NIMBA NINUVAK NISHA NISHKA NISQUALLY NITLKAPAMUK NIUE NJABI NKANU NKUNDA NKUTSHU NO NOALA NOBLE NODENA NOK NOKONOKO NOME NOMOLI NON NON INDIAN NONGOMA NOOTKA NOOTKAH NOOTKAN NOPILOA NORHTERN NORHTHERN NORHTWEST NORMANBY NORTH NORTHEAST NORTHEASTERN NORTHERN NORTHEWST NORTHWEST NORTON NOTHWEST NSAKARA NSAPO NSAPONSAPO NSAPO-NSAPO NTADI NTOUMOU NTUMU NTWANA NUKUNAI NUKUORO NUNA NUNDA NUNIVAK NUNUMA NUPE NURISTAN NURON NUSU NUTS NUUCHAHMULTH NUUCHAHNULTH NUXALK NUZI NW NYAMWEZI NYANGA NYANWEZI NYANZI NYGYE NYONYOSI NZABI NZOMBO OAXACA OAXACAN OBAMBA OBJECTS OBO OCEANIC OF OFO OGBODO OGBONI OGEE OGLALA OGNU OGONI OHBWA OJIBWA OJIBWAY OJIBWE OK OKAK OKLOP OKOROSHI OKUYI OKVIK OLD OLMEC OLMECOID OMAHA OMANI OMONO ONDUMBO ONEIDA ONIEDA ONONDAGA ONTARIO OODHAM OOWEKEENO OREGON ORISHA ORISSA ORNAMENTS ORO OROMO ORON ORTIZ OSAGE OSSYEBA OTO OTTAWA OVAMBO OVIMBUNDU OVO OWO PABLO PACHACAMAC PACHACAMIC PACHE PACIFIC PAE PAGAGO PAIAA PAIUTE PAK PAKAKA PALAOA PALAU PALAWAN PALEMBANG PALIN PALINS PALM PALMAR PANAETE PANAMINT PANIMINT PANUCO PANUK PAPAGO PAPAGOS PAPER PAPOUAISE PAPUA PAPUAN PAQUINO PARACAS PARAHUA PARANG PARCE PARE PARITA PASO PASSAMAQUODDY PASSMAQUODDY PATWIN PAUITE PAWNEE PAYUPKI PAZ PEC PEDRO PENABSCOT PENBOSCOT PENDE PENDELTON PENDLETON PENINSULA PENISULA PENOBASCOT PENOBSCOT PENTECOST PEOPLE PERCE PERCEL PERDENALES PERHAPS PERLS PETECOST PEUE PEUL PHILIPPINES PHOTO PHOTOGRAPH PHOTOGRAPHY PIANGA PIANTE PIAROA PIAUTE PICURIS PIE PIEGAN PIHUAMO PIKI PIMA PINEDAL PINEDALE PINERIDGE PINGA PINTO PIPI PIT PITT PLAIN PLAINS PLANK PLATEAU PNG PO POETRY POGORO POINT POKOT POLACCA POMO PONAM PONCA PONDO PONVS POPAYAN POPO PORAWATOMI PORT POSSIBLE POTAWATOMI POTAWATOMIE POTAWATONI POTAWOTAMI POTO POTOWATAMI POTOWATOMI POTTAWATOMIE POTTERY POWHOGE PRADESH PRAIRE PRAIRIE PRARIE PRE PRECOLUMBIAN PRE-COLUMBIAN PREHISTORIC PREHSITORIC PRIMAL PRIMITIVE PRINCE PROTECTION PROTO PROTO-MOCHICA PROTO-NASCA PROTO-NAZCA PUARAY PUBLICATIONS PUEBLA PUEBLE PUEBLO PUEBLOS PUERCO PUGET PUHAKA PUNO-LUMBO PUNU PUNUK PURARI PURUHA PUYALLUP PYGMY QAHATIKA QIUMBAYA QUAHATIKA QUALITY QUAPAW QUATSINO QUEEN QUEENSLAND QUERENDARO QUICHE QUIMBAYA QUINALT QUINAULT QUTCHIN RAEVAVAE RAFFIA RAGA RAIMUNDO RAJA RAM RAMU RANCHITOS RARE COLLECTIONS RARATONGA RAROTONGA REAT RECOUYEM RECUAY RED REGA REI RELIGIOUS REMOJADAS RENNELL REPRODUCTION RESERVE REVIEW RICA RICAN RIKABATSKA RIKBAKTSA RIMAC RIO RIVER RLINGIT ROADSHOW RODONDO ROMA ROMAN ROOSEVELT ROSEBUD ROTSE ROTSI ROTUMA ROYAL RUGS RUK RUNDUM RUNGU RUPRUP SA SABEAN SAC SACAPULAS SACATEPEQUEZ SACRIFICIOS SAGO SAINT SAKA SAKALAVA SALADO SALAMPASU SALINAR SALISH SALTEAUX SALTILLO SALUMEI SALUMPASU SAMARAI SAMBA SAMBURO SAMO SAMOA SAMTER SAMURAI SAN SANDE SANDIA SANDUSKY SANGIR SANGO SANGUI SANTA SANTAL SANTEE SANTO SANTOS SAO SAPI SAPO SAPOSAPO SARA SARAMAKA SARAWAK SARCEE SARCI SARSI SASANIA SATILLO SAUK SAULTEAUX SAUREAN SAUX SAVAGE SAVU SAWOS SCARIFICATION SCHEDULE SCHEDULES SCHOUTEN SCULPTURAL SCULPTURE SCULPTURES SEA SEBASTIAN SECRET SEDALIA SEIR SELLERS SEMINOLE SENECA SENOFU SENTANI SENUFO SEPIK SEPIK RIVER SERI SERRANO SERVICES SEWARD SHAKANDI SHAKI SHAMAYE SHAMBALA SHAMBOUY SHANDAKI SHANGAAN SHANGO SHANKADI SHASTA SHAWNEE SHELLS SHEMDAN SHERBRO SHI SHILELE SHILLIK SHILLUK SHIPIBO SHIRA SHIRA-PUNU SHIRT SHISMAREF SHO SHOLO SHONA SHOOWA SHORTLAND SHOSHONE SHOSHONEAN SHOSHONI SHOWLOW SIASSI SIBERIA SIBERIAN SICAN SICRIFICATION SIDOMO SIERRA SIERRE SIHUAS SIKASINGO SIKASSINGO SIKOMSE SIKYATIKI SIKYATKI SILETZ SILVER SILVERSMITH SIMBA SIMBAI SIMINTEBIP SINAGUAN SINGA SINGIRIN SINU SIOUX SIRIH SISI SISSETON SKAR SKOKMISH SKOKOMISH SKOOKUM SLAVEY SLIDES SLOPE SNAKE SNOHOMISH SNOWFLAKE SNYDER SO SOBOBA SOCCORO SOCIETY SOCORRO SOFKA SOGA SOGO SOKO SOLOLA SOLOMON SOLONGO SOMALI SOMOA SONDE SONGE SONGO SONGOLA SONGYE SONO SORKO SOROGO SOTHO SOUND SOUTH SOUTHEASTERN SOUTHERN SOUTHESTERN SOUTHWEST SOUTHWESTERN SOUX SOWEI SPANISH SPIRO SPOKANE SPOONTON SPRINGS ST STAFFS STATES STATUE STATUES STILLAQUAMISH STONE STOOL STOOLS STRAINTS STRAIT STRAITS STY SUBARCTIC SUBARTIC SUDAN SUHIN SUKIA SUKU SUKUMA SULAWESI SULAWESKI SULKA SULTAPEC SULTEPEC SULU SUMATRA SUMBA SUMBAWA SUNAHU SUNDI SUNGU SUNI SURINAME SUSU SWAHILI SWAT SWAZI T TABALA TABAR TABUA TABUNAM TABWA TAHITI TAHLTAN TAINO TAIRONA TAIWAN TAJIN TAKU TAKUU TALAMANCA TALAUT TALAVERA TALTAN TALTILCO TAMALAMEQUE TAMBORAN TAMBUA TAMI TAMIL TANANA TANG TANGA TANGANYIKA TANIMBAR TANZANIA TAO TAOS TAPAJOS TAPIRAPE TAQUILLA TARAHAMARA TARAHUMARA TARASCAN TARTINO-CHANCAY TASMANIAN TATANUA TATOO TAU TAXCO TAYLOR TBOLI TCHAD TCHOKWE TCHOWKE TECPAN TEDA-ZAGHAWA TEJON TEKE TELEFOMIN TELEVISION TELLEM TEMA TEMENS TEMMES TEMNE TENENKOU TENNESSEE TEOCALTICHE TEOTHIUACAN TEOTIHUACAN TEOTIHUCAN TEOTITLAN TEQUAECHE TERRACOTTAS TESEQUE TESUQUE TETELA TETON TEU KI TEWA TEXTILE TEXTILES THALTAN THO-HONO THOMASON THOMPSON THONGA THULE TIAHUANACO TIAHUANCO TICOMAN TIKAR TIKI TIKOPIA TILLAMOOK TILNGIT TIMOR TINGUIAN TIQUISATE TIV TIWI TLALOC TLAPACOYA TLATILCO TLINGIT TLINGLIT TNAVAJO TOBA TOBACCO TOBI TOCATINS TOCUYO TOCUYUO TODA TOGBO TOGO TOGUNA TOHONO TOKALAU TOKELAU TOKUT TOLAI TOLAM TOLAY TOLIMA TOLITA TOLONI TOLTEC TOMA TONGA TONKA TONOSI TONOSI-COCLE TONTO TOOLS TOPOKE TORACHELI TORADJA TORAJA TOREMBI TORRES TOTEC TOTEM TOTOK TOTOKIA TOTONAC TOTONICAPAN TOURA TOURKA TOURS TOUSSIAN TRANSITIONAL TREASURY TRIBAL TRIBE TRIOS TROBRIAND TRUJILLO TRUK TSAAYIA TSANGUI TSAYE TSCHAD TSCHOWKE TSHIMSHIAN TSHIOKO TSHOKWE TSIMSHIAN TSIMSIAN TSINSHIAN TSKOKWE TSOGHO TSONGA TSONGO TSWANA TUAM TUAMOTU TUAREG TUBATULABA TUBATULABAL TUBATULABI TUBATULABL TUBATULABUL TUBATULATAL TUBATUTABAL TUBUAI TUE TUFA TUGERI TUKANO TUKULOR TUKUNA TULARE TULAROSA TUMACO TUMBAGA TUMUC TUNGO TUNTUN TUNYO TUPELAC TUPU TURAMARUBI TUREMA TURKA TURKANA TURKMEN TURKOMAN TURSUK TURUMBA TUSAYAN TUSAYON TUSIA TUSSIAN TUSYAN TUTELO TUTSI TWA TWANA TYLER TZINTZUNTZAN UA UAU UBANGI UBANGI-SHARI UDO UGI UKUORO ULA ULAWA ULE ULELE ULI ULUA UMATILLA UMATILLO UMBOI UMEKE UNCERTAIN UNCU UNI UPPER URABA URANGI-SHARI URHOBO URHUBO URUBU URUKU UTATILLA UTE VAI VALDIVIA VALENCIA VALLEY VANA VANATU VANUATU VELLA VENDA VENTA VENTRE VERACRU VERACRUZ VERAGUAS VERAPAZ VERAZRUZ VERCRUZ VERDE VERE VESSELS VEZOS VICUS VIEJA VIGANGO VILI VILLAGE VIRU VIRU-RECUAY VISAYA VITIAZ VOKEO VOLTA VOLUTE VOODOO VUVI WA WABUDA WADAABE WAGAN WAGENIA WAHGI WAI WAIAWAI WAILAKI WAI-WAI WAJA WALAPAI WALAPI WALES WALES ISLAND WALGA WALIK WALPI WAMPANOAG WAMPUM WANA WANGONI WANYAMWEZI WANZEGA WAPO WARASEI WARI WARM WARRAMUNGA WARRIOR WASCO WASEISEI WASEKASEKA WASHINGTON WASHKUK WASHO WASHOE WASSI WATERSHED WATERSHELD WA-TUZI WAURA WAWA WAWAPU WAX WAYANA WAYANA-APARAI WAYANG WAYO WE WEE WEMENBAL WENEMBAL WEST WESTERN WHITE WICHITA WIDEKUM WIND WINE WINGATE WINIAMA WINNEBAGO WINNNEBAGO WINSLOW WINTU WINTUN WISCHRAM WISHRAM WITNESS WITU WIYOT WOBE WODAABE WOGUMA WOLOF WONGO WOOD WOODLAND WOODLARK WOSERA WOYO WUM WUNDA WURBO WURKUM WURKUN WUVULU WYANDOR WYANDOT WYANDOTTE XHOSA XINGU XIPE XOCHIPALA YAHGAN YAKA YAKAMA YAKA-SUKU YAKA-ZOMBO YAKIMA YAKOMA YAKTON YAKUTAT YAMI YANAMAMO YANGORU YANKCONAI YANKTON YANKTONAI YANOMAMO YANZI YAO YAQUI YAURE YAVAPAI YAVASUPAI YELWA YIKUBEN YIPWON YIRRKALA YOKT YOKUT YOKUTS YOMBE YOMBO YONZE YOPIK YOQUTS YORK ISLAND YOROK YORUBA YORUBO YOSEMITE YUANDE YUAT YUKI YUKON YUMA YUOK YUPIK YURACARE YUROK YUROK-KAROK ZACATCAS ZACATECAS ZAIRE ZANDE ZAPOTEC ZARAITO ZARAMO ZELA ZIA ZIGUA ZIGULA ZIMBA ZINZA ZOMBO ZOROMO ZUIN ZULA ZULU ZUMI ZUNI ZUNIB