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MILLERITE DRAWING
This intricate and symbolically rich drawing reflects the beliefs of the 19th-century Millerite movement, which predicted the Second Coming of Christ on March 21, 1844. Composed of symmetrical geometric patterns, manicules, and biblical inscriptions, the work visualizes prophetic theology through chains, circles, triangles, and heart-shaped designs linking scripture to apocalyptic expectation. Central motifs include sacred numbers like “44,” numerous scriptural citations from both Testaments, and depictions of the sun, moon, and divine “Throne,” all referencing the rebuilding of the Temple and Christ’s imminent return. The design integrates poetic verses, references to U.S. presidents, and symbolic pairings of “Bride” and “Groom,” “Sun” and “Moon,” merging national, spiritual, and cosmic imagery. Echoing the Shaker aesthetic—known for its heart motifs, mystical diagrams, and sacred inscriptions—the drawing combines prophecy, geometry, and devotion into a visual theology proclaiming “Holiness to the Lord” and the dawning of a new spiritual age in 1844.
STEVEN POWERS BIO
Steven S. Powers is an American art dealer, collector, author, and painter whose career bridges the worlds of American folk art, outsider art, and fine art. His fascination with handmade objects began with 17th- and 18th-century treen—carved woodenware prized for its patina and craftsmanship—which led him to Woodlands Indian art and, eventually, to the broader field of folk and outsider art. Powers began collecting seriously after college, driven by curiosity and passion rather than means, and has since filled his Brooklyn home and Red Hook studio with paintings and sculptures that inspire both his eye as a dealer and his hand as a painter. In 1996, he founded Steven S. Powers: Works of Art and Americana, a gallery specializing in American Folk and Outsider Art, Woodlands sculpture, treen, and select antiques. A self-described “collector-dealer,” Powers treats his business as a living, rotating collection, where each sale fuels new discoveries. He is also the author of North American Burl Treen: Colonial & Native American (2005) and Art of the Spirit World: Woodlands Indian Art, filling critical gaps in scholarship on early American material culture.