Lot 98

Uncle Sam American Eagle and Other Tattoo Designs by Fred Marquand [Folk Art - Outsider - U.S. Navy] (Bellingham, Washington, ca. 1925) 15 x 20 in. (38.1 x 50.8 cm.)

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Lot 98
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Uncle Sam American Eagle and Other Tattoo Designs by Fred Marquand [Folk Art - Outsider - U.S. Navy] (Bellingham, Washington, ca. 1925) 15 x 20 in. (38.1 x 50.8 cm.)
Uncle Sam American Eagle and Other Tattoo Designs by Fred Marquand [Folk Art - Outsider - U.S. Navy] (Bellingham, Washington, ca. 1925) 15 x 20 in. (38.1 x 50.8 cm.)
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Uncle Sam American Eagle and Other Tattoo Designs by Fred Marquand [Folk Art - Outsider - U.S. Navy] (Bellingham, Washington, ca. 1925) 15 x 20 in. (38.1 x 50.8 cm.)

Estimate: $1,500 - $2,500

Starting Bid: $750

(0 Bids)
by Bray & Co. Auctions
July 26, 2026 10:00 AM EDT
Live Auction
33 Jewell Court
Portsmouth, NH, US 03801

Uncle Sam American Eagle and Other Tattoo Designs by Fred Marquand [Folk Art - Outsider - U.S. Navy]
(Bellingham, Washington, ca. 1925)
Hand-painted tattoo flash by Fred Marquand (1905-1988), Bellingham, Washington, ca. 1925. Inscribed "9" bottom right. Ink and watercolor on board with varnished surface.

The present sheet can be seen hanging above Marquand's workstation at his shop at 1500 I Street in Bellingham during the mid-1920s; see Electric Tattooing: Fred Marquand by Nick Ackman (Olympia: Blue Letter Books, 2015), pp. 104.

When Fred Marquand (1905-1988) purchased his first tattoo machine in 1920, he was already familiar with the mysterious art of tattooing and the men who practiced it. Growing up along Bellingham's rough working waterfront, he was surrounded by sailors, fishermen, transient laborers, and other colorful characters whose bodies often bore souvenirs of distant ports. Young Marquand was captivated. By twelve, he had applied his first tattoo to himself—a hand-poked design—and soon began experimenting with needles, ink, and flash of his own. Those early efforts marked the beginning of a long career in tattooing and a body of work that continues to fascinate collectors.

The recent rediscovery of a group of original paintings by Marquand brings this world back into view with unusual clarity. Presented here for the first time, the group includes several large sheets of flash that once hung in his studio, brightly painted pages from a travel book, a photograph of his iconic Guardian Angel back piece, a business card, and even his hand-painted "Electric Tattooing" sign. The highlight, however, is a large painting of a tattooed man executed on the back of a Mobiloil Gargoyle advertising card. It stands as a masterwork of American folk art.

Like many tattooers of his generation, Fred Marquand learned by doing, by observing, and by writing to anyone who might teach him something. Through correspondence, he built relationships with many of the era's leading artists and suppliers, gathering information and purchasing equipment from figures such as New York's Charlie Wagner, Cincinnati's J.F. Barber, Detroit's Percy Waters, and Pittsburgh's J.G. Russell.

Marquand's unusual talent and ambition soon led to the most important professional relationship of his career: "The Old Reliable" George Fosdick. Primarily based in Portland, Fosdick was among the most influential tattooers on the West Coast and a central figure in the development of tattooing in the Pacific Northwest. He became both mentor and friend. In time, he would tattoo Marquand's Guardian Angel back piece in a single eight-hour sitting from a design Marquand had painted himself.

In Bellingham, Marquand set up a tattoo shop in his parents' home at 1500 I Street. From there he tattooed sailors, laborers, travelers, and local customers in a small room whose walls were covered with flash of his own making. During lean years he worked at Morse Hardware, painted signs and advertisements for local businesses, made display cards, and took on whatever work his hands could do. Careful and disciplined, he was an excellent craftsman with an eye for design. A century later, those qualities still shine through in his work.

In 1923, Marquand enlisted in the U.S. Navy, serving aboard tenders and tanker ships until 1927. Although tattooing remained a sideline during these years, naval life provided a steady stream of subjects and clients, allowing him to refine his skills while traveling the Pacific. After returning to Bellingham, he resumed work ashore while continuing to tattoo from his parents' home, gradually building a reputation throughout the Pacific Northwest. As his standing grew, so too did his connections within the small and closely guarded world of American tattooers.

When the United States entered World War II, Marquand re-enlisted in the Navy and once again found opportunities to practice his craft. Stationed at the Pasco Naval Air Station, he tattooed servicemen whenever circumstances allowed, earning the nickname "Tattoo King" and further cementing his reputation among servicemen throughout the region.

After the war, Marquand settled into family life and steady employment, gradually setting tattooing aside as a profession. Though he continued to work occasionally, his creative energies increasingly found expression elsewhere. Over the following decades he distinguished himself as a leatherworker, approaching the medium with the same focus that had defined his tattooing career.

Recognition came late in life. In 1987, the Washington State Folk Arts Council selected Marquand as one of only a handful of artists chosen from hundreds of candidates to represent the best folk art traditions of Washington State. The honor affirmed what those who knew his work had long understood: his talents extended far beyond the tattoo machine. Marquand died the following year, in 1988, leaving behind a remarkable body of work that reflected a lifetime of curiosity and skill.

Reference: For more information, see Nick Ackman's Electric Tattooing: Fred Marquand (Olympia: Blue Letter Books, 2015).

  • Dimensions: 15 x 20 in. (38.1 x 50.8 cm.)
  • Condition: Bray & Co. Auctions is committed to providing accurate and thorough catalog descriptions, but prospective bidders are strongly encouraged to examine property in person or request additional information prior to bidding. Condition statements are offered solely as a courtesy and reflect our general observations at the time of cataloging; they should not be regarded as complete or definitive descriptions of condition, nor as a warranty or guarantee of any kind. Certain imperfections, restorations, or signs of wear may not be specifically noted in written reports but may be visible in the accompanying photographs, which form part of the overall condition description. Please consult our Terms of Sale for additional information, and contact Bray & Co. Auctions with any questions or requests for supplemental photographs or condition details.

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