dec plumage 2015 jan 2016

PLUMAGEPLUMAGEPLUMAGE---TXTXTX Hill Country Magazine Dec. / Jan. 2015 – 2016 Issue

Framing

Reviews/ Commentary/ Exhibi ons/ News/ Events

FREE

The Cross Holiday reflec on of

the mes

Design Trends

New selec ons Sketch Sketch BooksBooks Something PersonalSomething PersonalSomething Personal

G. Harvey Spotlight prints

Available at JR Mooney Galleries—Boerne / www.jrmooneygalleries.com / 830-816-5106

Russell Stephenson “First Frost” Oil on Panel 24” x 24”

Photography and Design by: Gabriel Diego

Delgado

2 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016

Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 3

PLUMAGEPLUMAGEPLUMAGE---TXTXTX

IN THIS ISSUE

IN EVERY ISSUE

A Note from the Publisher –P.8

On the Cover—P.10

Contributors— P.11

Designer’s Quill—P.28

PLUMAGEPLUMAGEPLUMAGE---TXTXTX Winter 2015 / (Dec—Jan.) Issue

PUBLISHER

Gabriel Diego Delgado

All artwork photography courtesy of J.R. Mooney Galleries of Fine Art

Prices are for current artwork, and can change at any me

© 2015

JR Mooney Galleries

305 S. Main

Boerne, Texas

78006

830‐816‐5106

Edited by Gabriel Diego Delgado, Marla Cavin, Katherine Shevchenko , Be y Houston

Design by: Gabriel Diego Delgado

Contribu ng Writers

Gabriel Diego Delgado

Katherine Shevchenko

Melissa Adriana Belgara

Gina Mar nez

Frames

New selec ons of home decor

323232 22

Joy to

the

World

Art Analysis

4 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015

Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 5

PLUMAGEPLUMAGEPLUMAGE---TXTXTX

FEATURES Winter 2015 / 2016 Issue No. 8

14 Sketchbooks

Inspira ons on paper

A er Market

Fair Market Value

46 Boerne

Out and About in the Holidays

66

38 Tis the Season

G. Harvey Prints


A Note from the Publisher

As I write this, the wind is gus ng at around 45 miles per hour.

The trees down by the river are brown, and leaves and pecans

li er the streets of downtown Boerne. The city is humming with

prepara ons for the Dickens on Main events, and the onslaught

of the Christmas season. Holiday lights dangle from every

storefront façade. Winter coats, scarves and cozy dress are the

new wardrobe for the Main street shoppers. We are entering

into the winter season here in the Hill Country. The smell of

fireplaces, fire pits and burning leaves wa through the crisp air.

The merchants talk of the Holiday Stocking Stroll, rub their

bellies full of exo c meats from the Wild Game Dinner and hope

for des na on shoppers to visit the Historic Mile. Soon Santa

Claus will be on his North Pole throne at his signature spot at

the Nature Store and the Dickens on Main One Man Plays stages

are going up. Don’t lose focus on what’s important during this

wonderful season. Shop local, support local and remember art

makes a great gi to yourself and others; its ba eries will never

die!

PLUMAGE‐TX hopes to use its pages as a vehicle to educate, entertain and enlighten our audience on a variety of topics ranging

from reviews, news, ar st narra ves, interviews, cri cism and a cohort of other art related stories from within the gallery walls to

the major metro centers. I hope you find this informa ve and hope you con nue to follow the ar s c happenings around you in

your local neighborhoods.

Sincerely,

Gabriel Diego Delgado, Publisher

[email protected]

[email protected]


305 S. Main St

Boerne, TX 78006

830-816-5106

8302 Broadway St

San Antonio, TX

78209

210-828-8214

Fine Art for All OccasionsFine Art for All Occasions

Custom Framing

Conservation

Museum

Fine Art

Photography

Shadow Boxes

Ready-Mades

More…

Original Paintings

Giclees & Prints

Picture Lights


On the Cover

Downtown Boerne was alive with Holiday cheer

from November to January. All the storefronts

were decorated with wonderful displays of

Christmas splendor. As I walked down Main

Street one night, I took pictures of all the store

windows, details of the glorious merchandising

miracles that greeted the patrons as they window

shopped. That night, crisp and clear, I saw trees

and presents, angels and elves, lights and bulbs.

It was a great me to absorb the season. Pictured

here is an elegant evening gown , back dropped

by strands of Christmas bulbs that give perfect

color complements.


Contributors

Katherine Shevchenko has a ended the San Francisco Academy of Art University and the University of Texas at San Antonio where

she received her Fine Arts Degree with an emphasis in Pain ng. Her experience ranges from interning as a curatorial assistant at Southwest School of Art to teaching art to students of all ages. Currently, she is an art consultant/framing designer at the J.R. Mooney Gallery in Boerne. Some of her contribu ons include wri ng ar cles, hos ng and edi ng the J.R. Mooney podcast, "Mooney Makes Sense" and art catalog design. She is also an ar st that specializes in pain ng in oils and other media.

Gabriel Diego

Delgado is the

Gallery Director

at J.R. Mooney

Galleries of Fine

Art, Boerne,

Texas. He has

spent almost a

decade in

Nonprofit Art

Management‐

working as a Curator of Exhibi ons at the

Sta on Museum of Contemporary Art,

Houston; Project Manager of Research and

Development at the Museo Alameda, a

Smithsonian Affiliate, San Antonio. He is a

Freelance Curator and Arts Reviewer for

several publica ons. His artwork has been

shown in Arco 2012 Madrid, Spain; New

York, New York, MOCA (Museum of

Contemporary Art) D.C. as well as numerous

galleries and venues throughout the U.S.

He is currently working on his Fine Art

Appraisal License.

Melissa Belgara, a na ve Texan that grew up in Houston, lived in San Marcos and San Antonio has recently moved with her family to Boerne. Her experience in Commercial Real Estate Marke ng provides a unique

perspec ve of this quickly expanding area of Texas. She holds a Bachelor's degree from the University of Houston in Communica ons, as well as a Masters degree in Organiza onal Management. Currently, she spends most of her me caring for her two daughters, subs tute teaching and looking for crea ve ways to explore and discover the Hill Country's ar sts' communi es.

Gina Mar nez

graduated from

AEW College of

Photography and

Louisiana State

University with

degrees in

photography and

communica ons,

respec vely. Her

photography has been in several Louisiana

galleries including The Baton Rouge Gallery,

The Shaw Center for the Arts and the

Louisiana Ar st Alliance, and at the

Movements Gallery and the Monarch Events

Center in Aus n, Texas. She has published a

book called “The Kuna Yala” based on her

stay with the Guna Yala tribe of Panama.


Available at JR Mooney Galleries—Boerne / www.jrmooneygalleries.com / 830-816-5106

Arthur McCall “Light Snow” Acrylic on Panel 24” x 24”


Delgado

Rex Hausm

ann

Spotlight Feature


Sketch

Books

Notes, Drawings

and Thoughts

OH MY!!

By: Gabriel Diego Delgado


ketchbooks for ar sts are personal journals

that act as windows to the soul. From these

books, pain ngs are born. On these blank

pages, notes are made, sketches drawn, life is

lived, poems are wri en, and some mes bills are paid; in

essence a journal where the day‐to‐day rou nes collide

with divine inspira ons and dreams. On one page can be a

shopping list, a phone number, a note, and on the other a

drawing of the next masterpiece. Life is recorded; life is

cataloged, analyzed and thought through.

These are in mate spaces where one does not

edit, but explores ideas through text,

sketches, thoughts, and nominal inner

personal conversa ons and mental dialogue

that act as the building blocks for the

manifesta ons of ar s c magic. The artworks

in these books are for the tour de forces born

from these “bibles of the banal”; sanc fied

pages that form the founda ons for treasured

ar s c epiphanies.

I recently sat down with San Antonio ar st,

Rex Hausman, a er his teaching residency in

Paris and he jolted in me a rejuvenated

interest in this tradi onal and ar s c note keeping. His daily

affirma ons and diligent records of thoughts, pictures, text,

postcards, sketches, images, receipts, wrappers and the like were

a wonderful and invigora ng experience that brought a tear to my

eye while viewing his stories and considera ons. From being shot

in the leg to his travels around the world, it was all there. And yet,

here I was reading it; his sense of humanity, holiness, gra tude,

playfulness, sorrow, judgment and coy personality were on the

pages of those six books. This lead me to reflect on my own

discarded rou ne of wri ng and drawing in journals and

sketchbooks, and it commanded me to talk to other ar sts in how

they approached the sketchbook idea.

His comment on my reac on to his sketchbooks ‐ “It’s life man,

real recognizes real.” And for that I am thankful.

S S Kat Shevchen

ko

Rex Hausm

ann

Kat Shevchanko

Spotlight Feature


For Rex, the things he collected along the way were found on those pages. He found inspira on in duct

tape colors, the color combina ons on wrappers, the maps of places he has been. He also jo ed down

poems and notes to his parents. For other ar sts’ sketchbooks, I found more of the same: sketches and

sketches of preliminary

drawings for one pain ng; a

way to work out the

composi ons, notes on color

mixing, doodles of the day,

coffee shop sketches, playful

children drawing

collabora ons, lists of materials

needed, abandoned pain ng

ideas, exhibi on invita ons, and so much more. Conceptually, the sketchbook is an analog version of a

personal Pinterest®, sca ered thoughts funneled down and noted.

I knew I needed to start photographing these perfect pages, because most people don’t ever see the

thoughts that go into making the artwork; they only see the final product. The mental toil involved in

making art is laboriously intense. The pages of ar s c sketchbooks some mes show the drawing

drudgery to arrive at such studio successes.

“The pages of ar s c sketchbooks

some mes show the drawing

drudgery to arrive at such studio

successes.”

Gabriel Diego

Delgado


Never one for

sketchbooks, I o en

wrote down notes for my

pain ngs. In college I

worked out themes. My

journals looked more like

a philosophy major than

a fine art major. My

inner dialogue would

revolve around why I

was doing something,

not composi onal

arrangements for the

pain ngs themselves. I

ques oned myself, my

reac ons and my

decisions, not the

pain ngs. My abstract

pain ngs at the me

evolved on the canvas,

not on the paper. I really

never knew how to work

on the issues in a

sketchbook. I knew how

to record thoughts,

inspira ons, labels, lists and receipts. That is why I found Rex Hausmann’s sketchbooks so intriguing. He

was doing what I started off doing, too. He was recording

life in whatever medium stroked his fancy; marker,

highlighter, pen, pencil, paint, watercolor, etc. This was

real. Trips to the grocery store inspired drawings. Ea ng a

bagel jus fied taking the me to make a sketch of the

barrista. The colorful world all around him was and is the

source for his inspira on.

Something you learn along the way is “stop and smell the

roses.” Now what if there was a convenient way to jot

down how you felt when you smelled those roses, what did

it smell like? Can you press the rose petals between two

pages and see them every day? Can you take that moment

with you? What are your first thoughts a er smelling the

roses? Handy sketchbooks allow ar sts to document those moments of reflec on, appreciate the

fusillade of informa on they process on a moment‐to‐moment basis, and record such moments to use

Spotlight Feature

18/ PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016

Gabriel Diego

Delgado

as ar s c inspira ons. A spark of

crea vity might come at any

moment. Ar sts need

something to preserve that

enlightened clarity to use when

back in the studio. From that

moment of reflec on comes

something tangible like a sketch,

a note or a drawing. From that

first step comes a path; from the

path comes a des na on; from the

des na on comes art.

Art – a visual record of the world

around us, how it inspires us to create

and that inspira on leads to ac ons‐

maybe from a sketchbook.

“It’s life man,

real

recognizes

real…”

Rex Hausm

ann

Rex Hausm

ann

Kat Shevchen

ko

Kat Shevchen

ko


305 S. Main St

Boerne, TX

78006

830-816-5106

1.800.537.9609

www.jrmooneygalleries.com

Custom Framing

Conservation

Museum

Fine Art

Photography

Shadow Boxes

Ready-Mades

More...

Original Paintings

Giclees & Prints

Picture Lights

8302 Broadway St

San Antonio, TX

78209

210-828-8214

“Everlas ng Joy” by Sidney Sinclair is a recent acquisi on

by the J.R. Mooney Galleries of Fine Art. This pain ng is

part of Sinclair’s Abstract Cross Series. All the usual

elements of her crosses are represented in this pain ng:

warm ligh ng, a thema c sense of mystery and heavy use

of impasto technique.

What dis nguishes this cross, to me, is the contempla on of the representa on of The

Holy Trinity. Sinclair’s “Everlas ng Joy” is celes al; there is a sense that the cross came

from somewhere besides an ar st’s studio. Overall, the aesthe c of the piece is one of

an quity, as if the cross was forged by an early Apostle and later placed in the Hagia

Sophia un l it was smuggled to a Byzan ne church in Budapest a er the fall of

Constan nople. When I reflect upon the Holy Trinity I first think of God and His origin,

coming out of the void and crea ng the world.

I remember the Old Testament, a me when Western Civiliza on was in its infancy and

the religions we have today were forming. In Exodus 3:13‐14 God reveals Himself to His

people: “And Moses said unto God, Behold, [when] I come unto the children of Israel, and

shall say unto them, The God of your fathers hath sent me unto you; and they shall say to

me, What [is] his name? What shall I say unto them? 14 And God said unto Moses, I AM

THAT I AM: and he said, Thus shalt thou say unto the children of Israel, I AM hath sent me

unto you.” The mysteries of God shown through the canvas’ rudimentary abstract lines

and rectangular shapes, in contexts of its parts, are not ini ally discerned as a cross.

Rather it is when the eye calculates all the lines and the shapes together that the

powerful icon is revealed and the second component of the Holy Trinity is introduced.

New Gallery

Acquisitions

“An Art Consultant’s Analysis” By Gina Martinez

Gallery New

s


The physical a ributes of the pain ng correspond to the flesh and blood of Jesus Christ. Sinclair’s cross is

painted in earthy tones of red, brown, gold and yellow. The reds primarily used in the pain ng look like

dried blood, homage to the blood that Christ shed when he was crucified. The golds and yellows are

sallow so and warm, like tones of flesh, that of the dying Savior. The Trinity is realized by the final

component, the Holy Spirit. The three unify to become an important idea in Chris an belief. "It is the

Father who generates, the Son who is bego en, and the Holy Spirit who proceeds," As explained by the

Lateran Council IV (1215). In this pain ng first felt is the mystery of who is God. Next the physical

representa on of the flesh, Jesus Christ, is shown on the canvas through the physical materials of the

pain ng, and finally, the presence of the Holy Spirit resonates from and beyond the piece.

“Everlas ng Joy” by Sidney Sinclair

Oil on Canvas, 30” x 30”, $1,975.00


The Holy Spirit is represented by the shape of the cross which is organic like the colors. The heavy impasto

layers also create movement.

The paint vibrates on the canvas and burst forth in waves like the energy of the soul. It is as if the Holy

Spirit comes through the paint directly to the viewer. The idea that all three of these come together as

one is symbolized by Sinclair’s cross.

Before crosses, Sinclair painted

many landscapes. For me,

“Everlas ng Joy” is a type of

landscape. It is a soulscape, a

pain ng that mainly depicts the

inner side of the ar st. It is a

record of her joys and sorrows

and the days that she bore her

soul to the canvas. One can

feel the energy of Sinclair’s

bold, repe ve strokes as

everlas ng as the icon she

paints. “I bring my spirituality

to these pieces, but the people who like them and buy them bring theirs,” Sinclair says to San Antonio

Women’s Magazine in a 2013 interview. She con nues to say she wants people to see the hand of God in

her pain ng. Sinclair is also a cancer survivor and one does not have to look very hard at her pain ng to

feel her faith and spirituality coming through. As it is stated in 1 Corinthians 1:18 ESV: “For the word of

the cross is folly to those who are perishing, but to us who are being saved it is the power of God.”

By Gina Mar nez, Framing Design & Art Consultant

Sources

Landscapes and S ll life Vol 1 JR Mooney Galleries of Fine Art

Abstract Cross Series JR Mooney Galleries of Fine Art

h p://www.va can.va/archive/ccc_css/archive/catechism/p1s2c1p2.htm

h p://www.openbible.info/topics/cross

Boerne Business Monthly November 2013

San Antonio Women’s Magazine November/December 2013

Gallery New

s

“The mysteries of God shown

through the canvas’ rudimentary

abstract lines and rectangular

shapes, in contexts of its parts,

are not ini ally discerned as a

cross.”


Feel confident entrusting your

cherished memories and fine art.

Master framers with over fifty years

experience in custom framing and

shadow boxes.

We carry a versatile selection of

framing mouldings and mats from:

Laron Juhl, CMI Moulding,

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Come in today and have a

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Custom Framing

Conservation

Museum

Fine Art

Photography

Shadow Boxes

Ready-Mades

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Original Paintings

Giclees & Prints

Picture Lights

305 S. Main St

Boerne, TX 78006

830-816-5106

8302 Broadway St

San Antonio, TX

78209

210-828-8214


Design by Katherine Shevchen

ko

Design by Katherine Shevchen

ko

Home Accessories

New Year, New Beginnings

New Ways to Integrate Art into your Home‐Framing Ideas for the New Year

As the rush of the holidays start to ebb, one thing that many embark on is the annual ritual of clearing out

the clu er of the old and making way for the new, but there are some memories that lay in wait, in storage

in a cs and in boxes, that are too precious and sen mental to be thrown away. What most probably do

not realize is that these memorabilia can be framed and beau fully displayed in your home, crea ng a

personalized piece of art.

What must be factored when considering quality

custom framing is that it is an investment, and will

add enhancement to the décor and aesthe c to a

room, while increasing and preserving the

longevity of the subject, especially if it is a sensi ve

item. Objects and memories of personal

significance from family members can be passed

down to future genera ons to memorialize past

legacies and inspire future ones. For instance,

needlepoint works such as cross s tch, quilts,

handmade blankets and clothes are able to be

framed. Memorials can be made from photos

paired with an object of significance, such as a veteran’s photo paired with a medal or a folded flag can be

used to honor their service. With the u liza on of a shadow box, which is a frame with a more

pronounced depth there are endless possibili es for ideas. Ceramic plates are also requested for framing,

especially if they have been passed down carrying sen mental value.

If so desired, and there is a preference to be able to s ll have access to an object, there is always a

method of crea ng a cabinet style frame that can be opened and the item is able to be removed for

dus ng and examina on. There are numerous an ques that can be framed, such as le ers, curios and

vintage toys. Framed baby clothes and even boo es can be a deligh ul memory to display.


What be er way to pay tribute to an event that is dear to

your heart than highligh ng a saved cket stub from a

special performance? A crea ve way to present

apprecia on for a career or talent could be to have a key

tool or implement that is iconic to their profession or cra ,

such as a brush, or even a medical instrument mounted for

admira on. Essen ally, if you can name it, there is a high

probability that it can be framed.

The mo va ons for framing are just as numerous, while

there is the nostalgic aspect to capturing a cherished

memento in the perfect se ng of a delicately balanced

frame, there are more func onal reasons as well, especially

as an element in interior design. It can be an embellishment

to a home’s mo f that provides a highlight or it can be a

bold choice that is the main focal point in a room. Do you

have rolled up posters that are si ng in the back of your

closet taking up space? A reproduc on print can be

elevated visually with a much more esteemed status in a

carefully selected arrangement. A poster with eye catching

graphics can provide plenty of visual interest and pop to an

otherwise blank and neutral space. Always research and

make sure that the framer you choose is experienced and

has a guarantee of quality on their work. They will make it their priority that your precious items will be

handled with conserva on in mind. Do not hesitate to ask ques ons about the methods that will be

employed to secure your objects, in regards to their archival quality. In order to prevent fading of colors,

be sure to make sure that the glass being used will be providing 99% UV protec on. All items framed

properly will be done with archival and ph neutral materials. All needle points and fabric that are being

stretched for the framing will always be s tched with care, never stapled or nailed to the substrate. All

artworks and paper should never touch the glass. Not only unframed items should be

accessed, but framed items as well, as some items framed from decades ago could be

mounted on acidic materials, such as cardboard, which can cause discolora on over me.

A reframe can give a much needed refreshing update and make an item new again and

insuring its integrity over me.

As the New Year dawns, and assessments are made on what is needed and what is not;

there are treasures that everyone has that are heirlooms from past loved ones, tokens of

affec on, or victorious keepsakes that are unques onably special and irreplaceable in their

significance. Perhaps, now is the me to start thinking about immortalizing them in a

custom framing job that is unique as that par cular item.

© Katherine Shevchenko, Art Consultant



Delgado

Custom

Framing

Conservation

Museum

Fine art

Photography shadow

boxes

Ready-Mades

More

Original

Paintings

Giclees &

Prints

Picture Lights

1.800.537.9609

210.828.8214

830.816.5106


antastic rames

antastic rames A new look for 2016

Home Accessories


Home Accessories

Wall Moulding

“8750’s Series

2.50” wide

This unique framing sample in

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part fabrica on. The top layer of

distressed wood swatches are

accented with a small mo f fillet

edge overtop a simple wood

stripping. The series is

reminiscent of an American

Dougless style frame with

segmented rus c lateral burl.

This family offers a moulding

with strong segment break lines

and an ornate inner liner.


58 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015

Triple Essence Seasonal Prints Essays of G. Harvey

By Gina Martinez


Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 59 Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 39

“The Toy Shop” is a holiday scene that is

s ll very familiar to parents and

grandparents alike today. Even though

the piece depicts another me, all

viewers can relate to the feeling created

by the work. Snow covers the turn of the

twen eth century town. The shorter day

has passed and twilight falls upon the

streets. The glow from the lamps and

lights in the stores create a cozy

atmosphere for the people out shopping.

They wrap up their errands and prepare

to return to the warmth of their homes

and love of their families. The

protagonist in this scene is a small child

who has accompanied his father on this

cold wintery day. The child stands at the

window of a toy shop. He gently pulls at

his father’s coat and points to something

in the window. The father, lovingly

a en ve to the child, already has a

rather large wrapped gi in hand.

However, the li le one has spied

something in the window, just one more

thing he wants for Christmas. With

childlike urgency, he tugs at his father’s

coat to make sure he knows the

importance of the coveted item. The

father placates him, as all parents or

grandparents do, with his a en on.

Maybe what the child wants is already

wrapped up in the father’s arms. Perhaps

it’s wai ng to be put under the tree and

to be discovered as a gi from Santa

Claus on Christmas day. The child’s coat

is red, the only figure not dressed in

black, represen ng the predominant

color of the holiday season and the color

of Santa’s coat. It also symbolizes the excitement of youth. He is the only figure to face the viewer, and it is

deligh ul to feel the impression of his smile, the wide‐eyed wonder and excitement that the holiday

season brings out in children and in us all, no ma er the me.

“The child’s coat is red, the only

figure not dressed in black,

represen ng the predominant

color of the holiday season and

the color of Santa’s coat. It also

symbolizes the excitement of

youth.”

Consulng Essays


Dashing through the snow, as

the old holiday tune goes, the

winter winds brush the cheeks

of these fes ve riders. Like the

automobile of later, people of

the nineteenth century not only

used the sleigh for daily travel

but also to race and for cour ng,

as is exemplified in the popular

holiday song by James Lord

Pierpont. However, here in

Harvey’s scene, it is not racers or

lovers but rather a group of

people, perhaps a family, who

enjoy a winter day ou ng. Their

joy and excitement is felt in the

impressions of their smiling

faces and is reinforced by the

colorful balloons held ghtly by

the figure seated in the back of

the sleigh. Their loving pet

accompanies them giving the

piece an even stronger sense of

family and companionship. The

late a ernoon light envelops the

group as they dash across the

trail, probably going on to

another holiday party. In the

yesteryear, during the snowy

winter it was common to

adorn horses' harnesses with

bells as a way to avoid

collisions. The song “Jingle

Bells” gave these bells a

more celebratory purpose

and G. Harvey’s associa on

with them and the powdery

snow creates a holiday scene

that is nostalgic and fes ve.

“Their joy and excitement is felt in

the impressions of their smiling

faces and is reinforced by the

colorful balloons held ghtly by

the figure seated in the back of

the sleigh.”


The streets of New Orleans

are usually warm and

muggy. The mighty

Mississippi River can

generate enough fog to

blanket all of downtown

and the Central Business

District for days at a me.

However, in winter the

warm humidity is replaced

by a wet cold that all

Southerners will swear is

worse than any blizzard.

This chill permeates the

skin all the way to the bone

causing most to avoid the

outdoors as much as

possible during the brief

winter.

In this print, “Carriage on

Canal” G. Harvey depicts a

New Orleans gripped by

this sort of weather.

Harvey chose to depict

Canal Street no doubt

because it is one of the

city’s most recognizable

thoroughfares and is an

obvious choice for a

backdrop to which he may

adorn his signature horses,

glowing street lamps and people from a bygone era. However, there is significance to choosing Canal

Street as the se ng of this piece. Canal Street represents the transi on from old to new which is another

predominant theme in Harvey’s works.

The median on Canal Street is locally referred to as the “neutral ground” and it played a very important

role in New Orleans’ history and Americaniza on. At the turn of the nineteenth century Louisiana was a

French colony. In 1803 France sold it, along with a large territory, to The United States. Before this me

most people in the city lived in the Vieux Carré (the French Quarter). A er the Louisiana Purchase, a

mul tude of American se lers from all over the country flocked to New Orleans forever changing its

cultural makeup. The Americans populated the uptown area, choosing to live apart from the Creoles and

eventually expanded

Consulng Essays


an ar ficial waterway that was never realized. However, as me marched on, the median of Canal Street,

where the lady with the umbrella depicted in Harvey’s print stands wai ng for a ride, became known as

the neutral ground.

It was a place of commerce and frequented by both Americans and Creoles, one of the only places where

the two groups mingled. This division lasted into the twen eth century as more immigrants from other

countries came to New Orleans thus increasing the diversity of the popula on. In long coats clutching

umbrellas the people scurry underneath the warm glow of street lamps and store fronts moving from one

des na on to another, trying to stay dry. They come and go, crossing back and forth the cultural

boundary divide just as the carriage, street car and automobile which symbolize the progress and unity of

the growing city. The woman in the print waits on the neutral grounds for a ride shielded by her umbrella

and the thin trees.

Approaching is a horse

drawn carriage offering

shelter and transporta on.

The carriage is prominent

in the scene while the

newer automobile and

street cars remain in the

background. Harvey has

captured a special me in

the city’s history.

On Canal Street, the

carriage remains regal

showing that the old ways

s ll work with the modern

ones. This is equivalent to

the idea that the original

French Creole culture of

the city can coexist with the American one, especially when they have a place to come together and meet.

It is important to the prosperity of the city for the different groups to come together. In Harvey’s world as

shown on Canal Street, the horse is equal to the automobile, just as the two cultures are intertwined with

one another.

“It was a place of commerce and

frequented by both Americans and

Creoles, one of the only places where

the two groups mingled. This division

lasted into the twen eth century as

more immigrants from other countries

came to New Orleans thus increasing

the diversity of the popula on.”

“Toy Shop”, by G. Harvey, Limited Edi on Print on Paper, 24” x 20”, Hand Signed and Numbered

“Jingle Bells and Powder Snow”, by G. Harvey, Limited Edi on Print on Paper, 30” x 24”, Hand Singed and Num‐

bered

“Carriage on Canal Street”, by G. Harvey, Limited Edi on Print on Paper, 33” x 25”, Hand Signed and Numbered


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San Antonio, TX

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Delgado

Fair Market / After Market Value

Summaries of Current Art Market

Selec ons from A er Market

“Mission San Juan”, Julian Onderdonk, Pen and Ink on Paper, 7.5” x 9”


This drawing by Julian Onderdonk is a rendi on of the San Juan Capistrano Mission in San Antonio, rendered in two‐point perspec ve and is in black pen/ink on paper. The mission church building is in the middle ground of the drawing composi on and is at an angle facing the le . The foreground of the drawing consists of sca ered grasses on the lower right and loose sketches of a bunch of cactus on the lower le . A larger swatch of tall grass is close to the center of the composi on. There is a wood fence that separates the mission area from the foreground vegeta on. The mission façade that faces the viewer is darker in shadow and shading to show tonal value changes, and the angle of the light. There are two small door openings on the le facing façade and a large bush on the le side of the building. The church steeple of the mission is almost in the center of the paper, with two arches on the lower level of the steeple and one arch on the top level of the steeple. The cross extends to the top of the picture plane into the top center of the paper. There are two smaller buildings off to the le of the main mission building in the composi on. This drawing is done with single line crosshatching to show shading. There are no ceable signs of brown mold on the paper due to age. One large area of brown mold is on the cactus in the lower le corner of the drawing. There is a line of brown mold spots that extend along the le side of the paper speckling the sky and the other two small buildings on the le . The paper itself shows significant signs of yellowing with the top edge showing signs of dry and bri le edges. Limi ng condi ons are this drawing is s ll in its frame and cannot be viewed out of the frame. The drawing appears to be in fair condi on. There is evidence of brown molding to the paper on the lower le corner and column of brown mold speckles extending from the top le corner, con nuing down to the midway mark of the paper on the le quarter. There are signs of bri leness and dryness on the top edge of the paper. There are also brown mold speckles on the “l” of the ar st signature in the word Julian as well as the shaded front façade of the mission wall on the right side of the drawing.


Fair Market / After Market Value

Summaries of Current Art Market

Selec ons from A er Market

There were only 13 sketches of Julian Onderdonk recorded in the a er‐market auc on results in the past 5 years. Of those 13

sketches, 11 were auc oned off in the 2014‐2015 year, and 5 of the 13 were done in 2015 in the same auc on lot by Heritage

Auc ons in Dallas. It is my professional opinion that sketches by Julian Onderdonk are rare and unique on the a ermarket, most

of the recent auc ons have come from the same estate as the item in this appraisal. However, the auc ons for these items were

in Dallas, not San Antonio where the ar st was from, and where his credibility, integrity and demand are higher due to his

history in San Antonio and the fact that the Wi e Museum in San Antonio possesses a large collec on of his work and ar facts.

The 6 that are analyzed here in this appraisal were similar to the landscape format of the Mission drawing I am comparing in this

appraisal. The others 6 sketches I chose to omit from comparables of this appraisal included scenes of New York, items of

smaller dimensions, and drawings that went to auc on over 5 years ago.

It is also important to note that the demand for Texas vintage artwork is on the rise and more dealers, galleries, and collectors of

western and Texas art have seen resurgence in sales and interest.

The Sales Comparison Approach is a process of analyzing the sales of similar comparable sold proper es in order to derive an

indica on of the most probable value of the property being appraised. The Sales Comparison Approach is based upon the

assump on that a reasonable prudent person will not pay more to acquire a property than it would cost to acquire a comparable

subs tute property, and a prudent seller will not ordinarily sell a property for less than other sellers will be able to get for their

similar proper es.

Ending highlighted comparable sales:

$2,750.00

$1,000.00

$3,750.00

$2,000.00

$1,188.00

$1,625.00

When the comparable a er‐market auc on sales prices are evaluated, the average price was $2,052.16 of the six compared valua ons. However, we must not overlook the fact that we know the exact same drawing sold at auc on in Dallas one year ago and sold for $2,000.00, outside of the dominate market for the ar st’s artwork. The two higher comparison valua ons for the item in this appraisal are over near and over the $3,000.00 range. In my professional opinion, we can place addi onal value to the previous sale of $2,000.00 on this drawing over one year ago for current valua ons of the effec ve date of this appraisal. Given the rise of popularity in Texas vintage artwork, the San Antonio art market for Julian Onderdonk, and the rarity of sketches, my professional opinion is that the Fair Market Value for the “Mission San Juan Capistrano” drawing by Julian Onderdonk is $2,250.00. It is worth no ng that all the drawings went for above the high es mate bid set by the auc on house, reflec ve of the demand for Texas vintage art. Final Assessment: “Mission San Juan Capistrano” by Julian Onderdonk, pen/ink on paper, undated, 7” x 8.5” Fair Market Value: $2,250.00


“Oblate Fathers”

8.25” x 11”

1921

Pencil and white chalk on paper

Sold 10/18/2014

Heritage Auc ons

This drawing by Julian Onderdonk is larger in

size than the Mission drawing, is unsigned and

is in pencil not pen with the accented white

chalk details. However, it is considered a Texas

Landscape of the Hill Country / San Antonio

region. Based off the Heritage auc on records

this drawing is from the same estate that the

Missions Drawing is from (Eleanor Gould

Onderdonk Limpert). The overall condi on of

this drawing is similar in quality to the Mission

drawing. Heritage Auc ons placed a high

es mate bid of $1,200.00 to “Oblate Fathers”

with a low es mate bid of $800.00. The final

sales price of this drawing was $3,750.00 with

an auc on house buyer’s fee of 25%. Sales

auc on was one year prior to this effec ve

appraisal date. I feel the Mission drawing has

importance but the composi on of this drawing

is very fluid and is a great example of a Texas

Hill Country composi on, a composi on that

you can see in the artworks of other significant

Texas painters like Randy Peyton and Porfirio

Salinas. Because this drawing is a fine example

of an Onderdonk drawing and is larger than the

Mission drawing, I would place a fair market

value for “Mission San Juan Capistrano” below

the $3,750.00 sales price.

“Olmos Creek, San Antonio” 1914

7.88” x 10.38”

1914

Pencil on Paper

Sold on 10/18/2014

Heritage Auc ons

This drawing is slightly larger than the Mission

drawing, the item in this appraisal. It is also

unsigned, of less quality in sketch and

dra smanship than the Mission drawings,

and is in pencil not ink. This drawing is more

reflec ve of the ar st’s sketches that were

later used as studies for future pain ngs.

There is minor shading and value tones in this

composi on. The le side of the drawing is

under‐resolved and has less mark‐making

than the right side. The drawing was also

from the same estate as the Mission drawing

of this appraisal. Heritage Auc ons had a high

es mate bid of $750.00 and a low es mate

bid of $500.00 on this drawing at auc on a

year prior to the effec ve date of this

appraisal. The final sales price was $1,625.00,

which includes a 25% buyer’s fee from the

auc on house. Due to the insignificant

applica on of technique, composi on, and

ar s c diligence, I feel in my professional

opinion, this drawing is not a good example of

the dra smanship of ar st, Julian Onderdonk.

However, the tle s pulates where the ar st

was pain ng and gives it credibility to his

studies in San Antonio. I feel the quality and

significance of the Mission drawing is of more

importance and would value the “Mission San

Juan Capistrano” drawing higher in price than

the $1,625.00 price of this comparable.

“Mexican Jacal”

7” x 11”

Circa 1899

Pen and Ink on Paper

Sold on 05/16/2015

Heritage Auc ons

This drawing by Onderdonk is slightly bigger in

size than “Mission San Juan Capistrano” but

with less detail. The auc on sale date of this

drawing is also six months before the effec ve

date of this appraisal. This drawing has slightly

more foxing and stains than the one in this

appraisal. However, the signature is the same

on this drawing as the one in the appraisal,

giving a generalized historical meline.

Heritage Auc ons had a high es mate bid of

this drawing at $1,200.00 and a low es mate

bid of $800.00. The finalized auc on sales

price was $1,000 which included a 25% buyers’

fee to the auc on house. Even though this

drawing is slightly larger than the Mission

drawing, it is my professional opinion that

more value can be placed on the Mission

drawing due to its geographical loca on and

the subject ma er importance to the sales

market of this drawing. I would place the value

of “Mission San Juan Capistrano” higher than

the $1,000.00 sales price of the “Mexican

Jacal”.


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s 1.800.537.9609

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305 S. Main St

Boerne, TX

78006

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Delgado

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Invesga

ve Rep

orng

FINDING THE TRUTH IN THE PROVENANCE

A STORY OF THE REDFLAG STICKER

“Jardin de la Revolu on, Guanajuato, Mexico” by Lloyd Goff, a watercolor and gouache on paper pain ng measuring 11” x 15” is also known as “Volcano (Agua) An qua, Guatemala”. This pain ng was recently in a regional art exhibi on in Texas with a provenance of exhibi on history at the Whitney Museum of American Art. However as I dug through auc on records to verify the facts of this story, I uncovered an interes ng debacle. The pain ng was recently reframed and on the new dustcover, covering the back of the canvas was an exhibi on label for the Whitney show in 1954. However, since the label was not affixed to the back of the pain ng directly, it could have been acquisi oned at another me and a ached when the reframe was done. Heritage Auc ons in Dallas auc oned this pain ng before the reframe under the second tle with photographs of the condi on of the pain ng. This is where this story picks up.

By Gabriel Diego Delgado


In my professional opinion a er

viewing the photographs online of

this pain ng before the re‐frame

and at auc on in 2007, I believe the

actual tle of the pain ng to be:

“Volcano (Agua) An qua,

Guatemala.” When we compare

images of the actual city, taking into

considera on that the composi on

of this pain ng revolves around a

large domina ng mountain/

volcano, we can compare it to the

actual city design of An gue,

Guatemala. The main plaza, the

Arch of An gue and the grid like

pa ern of the internal street and

alley structure revolve around the volcano. In my professional opinion the architecture with the arches

and main arch are exactly what Goff was pain ng in this scene.

There is not a solo mountain that dominates the landscape in

Guanajuato, Mexico. It is within a mountain range, but does not

contain one that overlooks the city as the ar st has depicted in

the pain ng composi on.

If you analyze the museum exhibi on label on the back of the

pain ng in its current state with updated frame, you can see

that the tape holding the s cker in place has been cut and

removed, indica ng the s cker has been removed from its

original backing and placed on this new piece of cardboard.

Exhibi on s ckers, ar st endorsements, and signatures are

o en removed from old dust covers and preserved on the new

dust cover during a reframe, but due to the discovery of the

pain ng under another name and photographic proof of its

actual original name, I feel the label does not belong to this

pain ng.

“...tape holding the

s cker in place has

been cut and removed,

indica ng the s cker

has been removed from

its original backing and

placed on this new

piece of cardboard.”


Invesga

ve Rep

orng

However, since the

pain ng has gone to

auc on as the wrong

name and is now

registered as this tle, a

paper trail has been

created using the new

“iden ty.” The

assessment can only be

based off of size,

medium, technique, and

aesthe c. Museum

exhibi on provenance

will be disregarded. For

the iden ty of this

pain ng I will conclude

the original tle of this

pain ng as “Volcano

(Agua) An qua,

Guatemala.”

Photographs of “Volcano (Agua) An qua,

Guatemala.” Images are taken from

www.liveauc onworld.com website that

references the Heritage Auc ons sale of this

pain ng in2007. The label verso in the upper

le corner reveals it was shown and exhibited

at the Kraushaar Gallery on 57th Street in New

York City.

The ar st inscrip on in pencil shows the

original tle. This pain ng was not on

exhibi on at the Whitney Museum of

American Art in 1954.

By: Gabriel Diego Delgado

Sources: www.liveauc onworld.com , www.askart.com ,

www.artprice.com

“The assessment can

only be based off of

size, medium,

technique, and

aesthe c….Museum

exhibi on provenance

will be disregarded.”


305 S. Main St

Boerne, TX

78006

830-816-5106

8302 Broadway St

San Antonio, TX

78209

210-828-8214

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Fine Art for All Fine Art for All

OccasionsOccasions Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 59

Custom Framing

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Original

Paintings

Giclees & Prints

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305 S. Main St

Boerne, TX 78006

830-816-5106

8302 Broadway St

San Antonio, TX

78209

210-828-8214

1.800.537.9609 wwww.jrmooneygalleries.com

22 BB oer

ne

Yogi Berra once said, “If you don't know where you are going, you'll end up someplace else.” In other words, planning is the key to ge ng where you want to be. We should regard this message as a wise statement now and every day that seems to ramble on with pointless boredom. By the way, President Barack Obama awarded Yogi Berra the Presiden al Medal of Freedom, which compares to the Congressional Gold Medal, and is bestowed by an act of U.S. Congress—the highest civilian award of the United States.

We all can hope for a produc ve and par cularly fun year, so why not be unique and plan. Below is a list of exci ng events in and around the Texas Hill Country throughout the New Year 2016!

New Braunfels An que Show Friday 1/8 – 11 am to 7 pm Saturday 1/9 – 9 am to 5 pm Sunday 1/10 – 10 am to 4 pm Admission: Adults $6.00, Children 9‐12 $3.00, Free for 8 & Under, FREE PARKING h p://www.heritageeventcompany.com/event/new‐braunfels‐an que‐show/

Live at the Library – Boerne Public Library Founda on

Please Note: Due to the need for a larger performance space, this concert will be held outside of the library. It will be at Kendall Halle at Ye Kendall Inn.

January 15, 6:30 PM to 8:00 PM

FREE

Colombian Espresso

Edmar Castaneda (harp) has taken the world stage by storm with the sheer force of his virtuosic command. “His hands, seemingly powered by two different people, a rapid‐fire of chords, balance of melodic figures and drive are served with euphoric La n American rhythms….”

h p://boernelibraryfounda on.org/event/live‐at‐the‐library‐2/

Even

ts


http://www.heritageeventcompany.com/event/new-braunfels-antique-show/�




http://boernelibraryfoundation.org/event/live-at-the-library-2/�

New to BoerneNew to Boerne By: Melisa Adriana Belgara

Luckenbach's 9th Annual Blues Fes val January 23, from 12:00 PM ‐ 11:00 PM Tickets: $30 each, only 400 dancehall ckets ‐ limited number! h p://www.visi redericksburgtx.com/events/9th‐annual‐luckenbach‐blues‐fes val/ Premium Tequila Tas ngs & Taco Pairings Jan. 28 and Feb. 25, 2016, 6 – 8 pm Cost: $118.00 per adult, must be at least 21 years of age. Please bring your iden fica on with you. Tacos and Tequila, 1915 Broadway Street Capacity: We can accommodate from 6 to 24 people, must have a minimum of 6 people for event. What is Included: Tas ngs of 5 premium tequilas paired with dishes of La n Cuisine by Execu ve Chef. Learn the proper way to taste tequila. Pilón (Bonus): Fun historical facts about tequila and the tequileros, the smugglers who brought tequila into the United States from Mexico during the Prohibi on Era. h p://www.sazoninthecity.com/tours/

Boerne Chocolate Walk February 13, 2016 ‐ 11 am ‐ 5 pm Tickets go on sale beginning January 13, 2016 Tickets: $20 per cket Tickets can be purchased over the phone (830‐249‐9511, op on 5) or online with a credit card or in the Parks & Recrea on Office (1017 Adler St) with cash, check or credit card. cket includes:

‐ a map of the par cipa ng businesses ‐a bag to collect your treats ‐ a raffle cket h p://www.boerne‐tx.gov/602/Boerne‐Chocolate‐Walk


http://www.visitfredericksburgtx.com/events/9th-annual-luckenbach-blues-festival/�




http://www.sazoninthecity.com/tours/�

http://www.boerne-tx.gov/602/Boerne-Chocolate-Walk�

By: Melisa Adriana Belgara

Sakura: The Silk Road Ensemble

Sunday, April 10, 2016 at 6:30pm ‐ 8:30pm

Three outstanding interna onal ar sts and members of The Silk Road Ensemble will come together for Sakura, the Japanese term for Cherry Blossom! Japanese Koto & Shamisen player and songwriter Sumie (Sumi‐é) Kaneko has been recognized as a pioneer of uniquely chroma c instrumenta on. A musical evening at San Fernando Cathedral.

h ps://www.facebook.com/events/1002150689829128/

125th Fiesta San Antonio – 2016

April 14‐24

Fiesta® San Antonio started in 1891 as a one‐parade event. It evolved into one of this na on’s premier fes vals, with an economic impact of more than $284 million for the Alamo City. Fiesta® is the Party with a purpose.

h p://www.fiesta‐sa.org/events

2016 Wine Tourism Conference

November 8‐10, 2016, Fredericksburg

Seminars, discussions, and business informa on about growing and improving wine tourism.

Wine Tourism Conference Director, Allan Wright, said, “The Wine Tourism Conference will bring wine tourism industry leaders from throughout the country and world to Texas. This is not only a great opportunity for Texans to meet and learn from top wine tourism experts but also a showcase for the booming wine tourism industry in the state.”

h p://winetourismconference.org/events/

Even

ts


https://www.facebook.com/events/calendar?adjusted_ts=1460271600&open_popup_on_init=1�

https://www.facebook.com/events/1002150689829128/�

http://www.fiesta-sa.org/events�

http://winetourismconference.org/events/�

Happy Holidays from .R. Mooney Galleries of Fine Art– Boerne, TX.


About Town


Press Releases

For Immediate Release Victoria Regional Museum Associa on, Inc., The Nave Museum 306 W. Commercial St. Victoria, Texas (361) 575‐8227 www.navemuseum.com [email protected] January 14, 2016 (Victoria)— Texas Landscapes at The Nave Museum exhibi ng January 14 –February 24, 2016. Beginning January 14th through February 24th, four notable Texas Landscape painters will be presented in

an exci ng new exhibit by VRMA‐The Nave Museum, trea ng residents of the Cross Roads area to a

beau ful collec on of Texas views. The exhibi on en tled, Texas Landscapes features works by four

significant and prolific ar sts working in the state today, all focused on the remarkable allure of our Texas

vistas.

Par cipa ng ar sts include: Cliff Cavin (San Antonio), Noe Perez (Corpus Chris ), Eric Harrison (Blanco),

and Robert Harrison (San Antonio).

These ar sts find their inspira on in their Texas surroundings. In an exhibit tailor‐made to strike a chord with our community,

these ar sts share a love of the unique beauty inherent in a Texas landscape. Visitors will enjoy familiar sights expressed

masterfully in pain ngs that will evoke a sense of solidarity with the spirit and ethos of Texas.

Cliff Cavin was born in San Antonio, Texas and has been pain ng for over thirty years. He has studied under such notable ar sts as Warren Hunter, George Hughey, William Reese and Wilson Hurley. His pain ngs have won numerous awards and are collected both na onally and interna onally in private and corporate collec ons. He has exhibited in the United States and abroad and has par cipated in several cultural art exchanges, auc ons and benefits for charitable organiza ons. Although equally talented in oils and watercolors, his primary focus is on oil pain ng, par cularly the landscape. The immediacy and directness of his work emphasize the strength and grandeur of nature while his use of color defines the gentleness and beauty he finds in the natural world. These quali es, coupled with his keen observa on, create a clarity and sensi vity in his work that truly express the emo onal quali es of his environment. Cliff Cavin is a landscape purist, dedicated to the capturing of light.


Noe Perez was born and raised in Falfurrias, Texas. Interested in art from a young age, Perez’s ar s c educa on began in his early teens as he studied with various local ar sts. Despite his love of art, he chose to major in engineering. Perez earned his bachelor of science degree in civil engineering at A&I University and he con nues to work in that field today. Unwilling to put aside his intense interest in art, Perez has con nued to advance his ar s c abili es, a ending plein air pain ng workshops with Plein‐Air Painters of America ar sts Ron Rencher and George Strickland. Much of his work is done in the studio from photographs and plein air studies. Perez believes that plein air pain ng is an essen al exercise for any landscape painter and he paints outdoors whenever possible. He paints the South Texas landscape—dusty terrain do ed with low brush and cactus in bright sunlight—using beau fully realis c colors that are equally muted and vibrant. Noe Perez is a master at capturing the beauty and essence of South Texas. Eric Harrison was born in 1971 in San Antonio, Texas. In 1995, he married Kim Marie, and together they have two sons, Noah and Ethan. The Harrisons now reside in the hill country west of Blanco, Texas. Currently pain ng in a language resonant with other Texas ar sts such as Robert and Julian Onderdonk, Robert Wood, Porfirio Salinas, Dawson Watson, and Robert Harrison. His style evokes an affinity with the work of California painter William Wendt, Paul Cezanne and many of the post impressionists. Exhibi ons and collec ons of his work include The University of Texas at San Antonio, Buckhorn Museum San Antonio, Best of the Best Art Show Salado, Alamo Kiwanis Western Art Show, and many private collec ons throughout the United States. In Eric’s own words he explains that “My art is the result of my thoughts and feelings about the place where I live. Freedom, imagina on, and encounter with Nature are the source from which these visions are realized. Ul mately, these pain ngs stand as evidence of a life being lived, and above all are meant to be seen, so as you look at the pain ngs allow your eye to wander and your mind to wonder." Robert Harrison was born in San Antonio, Texas, and grew up in the Wimberley area. Robert never had any formal art training. He learned ini ally from his Grandmother and is primarily self‐taught. For many years, Harrison showed his work exclusively with Louis Marshall at Marshall's Brocante in San Antonio. He has lived in San Antonio most of his life. His love of the Hill Country is evident in his pain ngs, and he is considered by many art authori es to be the best living landscape ar st in Texas. Cecilia Steinfeld, curator emeritus of the Wi e Museum, listed him as one of the Top Ten bluebonnet painters of all me in an ar cle in Southwest Art Magazine, April 1985. Harrison is best known for his bluebonnet scenes, but he also paints Texas landscapes of other seasons and areas of Texas other than the Hill Country. His work has been featured in San Antonio Magazine, Southwest Art Magazine, and Art Interna onal.

Texas Landscapes takes viewers on a sen mental tour of familiar subjects, but with fresh unique perspec ves. Striking images

of a grand and diverse Texas landscape prevail, as do engaging pain ngs of the dis nc ve flora and fauna of the Lone Star

countryside. The dis nc ve works contained in the exhibi on expertly capture and celebrate the richness and diversity of our

great state. Texas Landscapes is a “must see” exhibi on for Victoria area art patrons, and is certain to bring great viewing

pleasure to the community. Come enjoy pain ngs by four talented Texans that share the pride and admira on we all feel for

our Lone Star home.

Special Events

On View: January 14‐ February 24, 2016 (12‐6pm, Tuesday‐Friday; 12‐4pm, Saturday‐Sunday)

Opening Recep on: Thursday January 14, 6‐8 pm

Patron Party hosted by the Victoria Art League: Thursday, January 14 8‐10pm

Loca on

VRMA‐The Nave Museum 306 W. Commercial St. Victoria, Texas 361‐575‐8228 www.navemuseum.com

About The Nave Museum

The only art museum in the Crossroads area, The Nave Museum features six to eight diverse and compelling exhibits each year, both classical and modern. The mission of the Nave Museum is “Reaching out to enrich, enlighten and educate through visual and cultural art”.


dec plumage 2015 jan 2016

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