The Chinese may take credit for originating the art of paper cutwork. It crossed Asia into Europe, where the Swiss, Dutch, and Polish took it up. Even the Great Dane himself, Hans Christian Andersen, may have delighted in papercutting as the eye-catching zenith to his story-telling performances. Yet it is the Germans who merit the position of honor in the art of scherenschnitte, and to whom folk art devotees are beholden.

Scherenschnitte, the art of "scissor snipping" or "scissor cutting," made its way to America in the eighteenth and early nineteenth centuries as German immigrants settled in Pennsylvania in search of religious freedom. Among them were settlers with a creative flair who had an eye, and hand, for scherenschnitte. Paper cutwork enabled them to connect with their birthplace while strengthening ties to their new land. The Ephrata Cloister in Lancaster County produced some of the earliest known paper cutwork in America. Like Pennsylvania German fraktur, scherenschnitte focuses on life's significant passages: birth, schooling, courtship, marriage, family and death.

Well-executed scherenschnitte is visually stunning. The work is underscored by complex, principally symmetrical, highly elaborate, and breathtakingly artistic designs. Birds, animals, flowers, trees, hearts and other figures are inventively incorporated. Fancy scrolls often are inscribed with verses, names and locales.

Accomplished papercutters took pride in working freehand, without the aid of drawings or guides. Using sharp scissors, or sometimes sharp knives, they cut their motifs with exact precision, most often from a single piece of intricately folded paper. For dazzling impact, a papercutter could decide to add separate, layered cutouts, as well as watercolor and ink embellishments. On occasion, he or she might use the technique of "pinpricking," using varying pin widths to create texture and enhance dimensional features. Some papercutters combined scherenschnitte and fraktur within their work. Cutwork examples of tinsel and gold foil also are documented.

Papercutting gained limited popularity in other regions of the country, notably along the Eastern seacoast. Yet, scherenschnitte remains rooted in Pennsylvania German communities. Many works are unsigned, so their creators remain anonymous, yet, there was one virtuoso who incorporated his name within several remarkable creations.

The Master of Scherenschnitte: Isaac Stiehly

Say "Mahantongo." Lyrically, the word rolls gently off your tongue. The beauty of this word is reflective of the majestic Mahantongo Valley of central Pennsylvania, sheltered by surrounding mountains and fortified by its fertile Mahantongo-Schwaben Creek. East of the Susquehanna River and north of Harrisburg, the valley known as Mahantongo is suitably translated from the Lenni Lenape as "good hunting grounds." The valley was a seedbed of folk art including furniture, carving and scherenschnitte.

Advanced Americana collectors who "hunt" for the best in paint-decorated furniture and prized folk art covet this region. Mahantongo's celebrated chests of drawers, blanket chests, desks and cupboards, particularly of the second-quarter nineteenth century, are cherished finds for folk art enthusiasts. Mahantongo furniture boasts spectacular hues of green, blue, yellow, red and black. Stunning paint-decorated details abound. For those who fancy this genre, Henry M. Reed's 1987 Decorated Furniture of the Mahantongo Valley is a must-read. The other folk art from the area, including redware and paperwork, often repeats the colors and ornamentations so acclaimed in Mahantongo furniture.

While the region has produced a number of celebrated folk artists, few have ever garnered more esteem than Isaac Faust Stiehly (recorded as "Stiely" in some accounts). In words and deeds, he was an icon who was fiercely passionate concerning his heritage and tenderly compassionate toward his people.

Stiehly's ancestral heritage includes his paternal grandfather, John Dietrich Stiehly. Born in Germany in 1740 and a member of the Reformed Church, Grandfather Stiehly voyaged to Pennsylvania to flee religious oppression. His marriage at age 20 is recorded in Berks County. Isaac was born to John's son George and daughter-in-law Elizabeth (Faust) Stiehly on May 12, 1800, and was baptized at the Saint Johns Hains Reformed Church in Wernersville, Lower Heidelberg Township, Berks County, Pennsylvania. He became a Pennsylvania German Reformed pastor in 1824 and married Anna Knorr three years later in Wernersville. Stiehly served his parishioners and community until his death in 1869.

Isaac Stiehly was a multi-talented folk artist. His paint decoration on Mahantongo Valley furniture is among the best of its kind. His decoration featured stylized birds, fanciful hearts, splendid tulips, striking compass stars, corner fans and vibrant rosettes. He also carved more than 400 gravestones in 20 churchyards within a 12-mile span for his parishioners and neighbors.

In the realm of paper cutwork, Stiehly's genius ultimately defines "best" in scherenschnitte. He artfully combined sophisticated paper cutwork skill, fanciful design quality, inventive interpretation and savvy personalized features into sheer brilliance. Stielhy's remarkable paper cutworks of baptismal certificates, family records and unabashed patriotism are unparalleled.

In his papercuttings, Stiehly honored his beloved region with the inclusion of fanciful birds and profuse florals. He frequently included motifs linked to his young, robust nation with resplendent eagles, vibrant flags and abundant stars. Stiehly's cutwork often incorporated the name of the child being baptized, the couple being married, or the adult being remembered. The inclusion of his own name and date in many of his works ensures Stiehly's enduring recognition and a sound provenance for future collectors.

Enduring art form

Pennsylvania merits its standing as the scherenschnitte capital of the US. Yet, noteworthy examples of early paper cutwork have surfaced in other regions. Fine cutwork from New England, particularly in the Boston area, has been documented. It is likely that a schoolgirl academy instructress or two in the early nineteenth century became fascinated with scherenschnitte and may well have incorporated the art form into her curriculum.

A number of contemporary artists keep the art form alive. Several papercutters have written on scherenschnitte, including Claudia Hopf of Kennebunk, Maine. The Guild of American Papercutters, founded in 1988, has its own website, publishes seasonal newsletters and convenes workshops.

Collecting papercuttings

Finding early, well rendered scherenschnitte in fine condition is not easy. Many pieces have been discarded or lost over time. But hopefully, many examples placed in Bibles and other books for safekeeping have yet to emerge.

It is critical that early scherenschnitte be conserved properly. The brittle and fragile nature of period paper, coupled with the intricate detailing of the work itself, must be addressed. An unsettling factor is that scherenschnitte often is glued, pasted or taped to another surface. Another concern is that ink and watercolor added to embellish some cutwork examples often bleed through paper over time.

Be certain to consult with an expert in the field - a museum specialist, professional conservationist or specialist dealer.

The author would like to thank:

The staff of the Landis Valley Museum - Bruce Bomberger, Curator; Irwin Richman, Director of Research & Development for the Heirloom Seed Project and guest curator of the Scherenschnitte exhibit; and Donna Horst, museum preparatory.

Dr. David Bronstein.

Jeff R. Bridgman American Antiques, www.jeffbridgman.com.

And a tip of my pen to the scissors of Mim Taylor of West Chester, Pennsylvania.

About the author

Bev Norwood and her husband Doug exhibit at fine antique shows under the trade name of The Norwoods' Spirit of America. The Norwoods specialize in one-of-a-kind American folk art, with emphasis on early schoolgirl work prior to 1840 and original paint-decorated smalls. Bev is a frequent seminar presenter and guest lecturer with an extensive background in academia as well as decorative arts. Her podcast on "American Folk Art" can be accessed at www.armacostantiquesshows.com.

Bev may be reached at spiritofamerica@comcast.net or at (410) 252-2012.