In November of 1964, landlord Meyer Wertlieb visited a small garage he owned to investigate why the rent had not been paid. Unfortunately, he discovered that his tenant, James Hampton, had passed away from stomach cancer. Wertlieb was aware that Hampton had been building something in the garage, but nothing could have prepared him for the monumental revelation that awaited inside. As one art dealer later put it, it was like walking into King Tut’s tomb.
For the past fourteen years, Hampton had been meticulously creating what he called “The Throne of the Third Heaven of the Nations’ Millennium General Assembly.” The central piece is a seven-foot-tall throne made from an old recliner. Surrounding it are numerous altars and pulpits, all constructed entirely from found objects. Among the materials Hampton used are old furniture, cardboard, light bulbs, mason jars, shards of broken mirrors, glass fragments, and an astonishing amount of gold and silver foil.
In total, the work consists of 180 objects, drawing inspiration from millennium prophecies, Biblical imagery, the Book of Revelation, and St. John’s vision of God on a golden and silver throne. Hampton infused his creations with traditional African spiritual influences, including Santería, Vodou, and Candomblé, reflecting his unique and vivid spiritual vision. Though undeniably apocalyptic, the work retains a message of hope, as exemplified by a prominent inscription above the throne that reads: “FEAR NOT.”
Not much is known about James Hampton’s life. Born in South Carolina in 1909, he grew up in poverty after his father, a gospel singer and traveling Baptist preacher, left the family when Hampton was young. He and his older brother were raised by their mother. In 1928, Hampton moved to Washington, D.C., and was drafted into the U.S. Army Air Forces during World War II, where he served in the segregated 385th Aviation Squadron. Though his squadron did not see combat, Hampton was awarded a Bronze Star and honorably discharged in 1945, after which he returned to Washington, D.C.
During the postwar period, Hampton’s spiritual journey accelerated. He began having visions that he believed were divine instructions to prepare for Christ’s return. According to Hampton, he was visited by figures such as the Virgin Mary, Moses, and Adam, who directed him to create his monumental work. He considered himself a prophet, and in addition to the throne, he authored a 108-page manuscript titled St. James: The Book of the 7 Dispensation. The text, largely written in an unknown language, included a new set of commandments—believing that mankind had failed to follow the original ten.
James Hampton was a unique and controversial figure. However, regardless of one’s opinions about his faith, claims, or even his mental health, one can objectively appreciate The Throne of the Third Heaven as a remarkable artistic achievement—a labor of love and devotion. For almost 15 years, Hampton worked in secret in the solitude of his modest garage, leaving behind a stunning testament to his faith and artistic vision.
After Hampton’s death, Wertlieb, unsure of what to do with the massive collection, sought guidance. Had circumstances been different, the work might have been discarded. Fortunately, Wertlieb knew several art dealers, one of whom connected him with Harry Lowe, the assistant director of the Smithsonian American Art Museum. Lowe purchased Hampton’s artwork for the price of the back rent on the garage. Lowe later donated the collection to the Smithsonian, where it remains on display today.
The Throne of the Third Heaven has since been recognized as one of the most significant works of outsider art in history. The collection has been exhibited widely, captivating viewers with its otherworldly beauty and spiritual depth. Hampton’s work defies traditional artistic categorization, blending visionary craftsmanship with intense religious devotion. Though he passed away in obscurity, Hampton’s art now enjoys international acclaim, and his legacy as a prophet and artist has endured, inspiring new generations of admirers, artists, and scholars alike.
Jason Roberts is a Seattle-based author noted for his acclaimed western horror series The Dead Wind Trilogy as well as other works of cosmic horror infused with historical fiction. His web-based series, Dark Distractions examines paranormal mysteries, unexplained phenomena, and all things strange.
