Skip to content

Born 1891, Cuba

Died  c. 1960
Lived and worked in Miami, New York and Philadelphia

Born outside Havana in 1891, this recently rediscovered Cuban-American artist emigrated to Miami around 1920, eventually settling in New York and finally Philadelphia, where he died sometime in the 1950’s or 1960’s. A self-appointed “artist, healer, and man” (described by Roberta Smith as a “self-starting modernist... on a par with... greats like Henry Darger, Martin Ramirez, and James Castle”), Consalvos worked for much of his life as a cigar roller, and he extrapolated the vernacular tradition of cigar band collage to a highly sophisticated, inimitable practice. His obsessive body of work—approximately 750 surviving collages on paper, found photographs, musical instruments, furniture, and other unexpected surfaces, all discovered in 1980 at a West Philadelphia garage sale—merges the biting socio-political satire and absurdist impulse of Dadaists like Kurt Schwitters and Max Ernst with the abstruse mysticism of Joseph Cornell and Jess. Consalvos likewise parallels and prefigures certain contemporaneous developments in Surrealist, Futurist, and Pop collage, design, and even poetry. By highlighting his multifaceted approach to collage as sculpture, literature, revolution, and worship, we intend to rethread a stray strand, to tie a keen eye to its more famous confederates and include a forgotten voice within the context of the development of 20th-century American art.



Andrew Edlin Gallery, New York, NY

More Colossal Greatness, Fleisher/Ollman Gallery, Philadelphia, PA

Constructing Images, Fleisher/Ollman Gallery, Philadelphia, PA


Popular Painters & Other Visionaries, curated by Rodrigo Moura, El Museo del Barrio, New York, NY
An Alternative Canon: Art Dealers Collecting Outsider Art, curated by Paul Laster, Andrew Edlin Gallery, New York, NY

We Shall Make America Wonder, Andrew Edlin Gallery, New York, NY

About Face: A compilation, Edward Thorp Gallery, New York, NY 

Messages and Magic: 100 Years of Collage and Assemblage in American Art, John Michael Kohler Arts Center, Sheboygan, WI

Collage, Russell Bowman Art Advisory, Chicago, IL 

Parallel Visions II, Galerie St. Etienne, New York, NY
Rock Paper Scissors: American Collage Now, Fleisher/Ollman Gallery, Philadelphia, PA
The American Antiques Show, Fleisher/Ollman Gallery, New York, NY

Art 36 Basel, Fleisher/Ollman Gallery, Basel, Switzerland
scope~Miami, Fleisher/Ollman Gallery
Words in Pictures, Adam Baumgold Gallery, New York, NY
The American Antiques Show, Fleisher/Ollman Gallery, New York, NY

scope~Miami. Fleisher/Ollman Gallery
Fabulous Histories: Indigenous Anomalies in American Art, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA
The American Antiques Show, Fleisher/Ollman Gallery, New York, NY
scope~London, Fleisher/Ollman Gallery


Gomez, Edward. Upcoming feature. Folk Art Magazine, September 2006.
Newhall, Edith. "Collage Hot Again." Philadelphia Inquirer, March 17, 2006.
Smith, Roberta. "Red, White and Blue Americana Atop a Cultural Rainbow." New York Times, Jan. 20, 2006, p. E33.
Glueck, Grace. "Reminders of America's Many Pasts." New York Times, Jan. 21, 2005, p. 33.
Greaves, Brendan. "Cigarmaker, Creator, Healer, & Man: The Artwork of Felipe Jesus Consalvos." Catalogue essay, Fleisher/Ollman Gallery, 2005.
Fallon, Roberta. "Rittenhouse Square Deal." Philadelphia Weekly, Nov. 17, 2004.
Sozanski, Edward J. "Cigar Bands, in His Hands, Became Art." Philadelphia Inquirer, Nov. 5, 2004, p. 32.



Back To Top