plumage-tx edition one spring 2015

PLUMAGEPLUMAGEPLUMAGE---TXTXTX Art Magazine

Premier Spring 2015 Issue

THOMAS ARVID The Premier Wine

Photo-Realist Aldo Luonga

White House, Olympics, The

Hawk

Sidney Sinclair

New Work

Compare & Contrast

60th Anniversary McNay Museum

Reviews/ Commentary/ Exhibitions/ News/ Events

BPA Parade of Artists

2015

FREE

Jose Vives-Atsara

Unknown Portraits

Boerne Professional Artists (BPA) is hosting its 19th Annual “Parade of Artists” on April 11 and 12 of this year.

The 'Parade' is a festive weekend event held each spring which attracts hundreds of art enthusiasts from around the country to visit various art venues in Boerne.

It is a self-guided tour of local galleries, studios and “other venues” principally located along the Hill Country Mile in the Arts & Design and Historic districts of downtown Boerne.

http://boerneprofessionalartists.com/?page_id=29

PLUMAGEPLUMAGEPLUMAGE---TXTXTX

FEATURES Premier Spring 2015 Issue

22 Sidney Sinclair

A compare and contrast of

new artwork in the DYAD

exhibition at J.R. Mooney

Galleries of Fine Art

14 Thomas Arvid

One night only event with a

SIP & Sign event while the

artist is in the San Antonio

region for one weekend

36 McNay 60th Anniversary

Six decades of success, new exhibitions, pop-up

events, and future strategic planning

4 / PLUME-TX Magazine Reviews/ Commentary/ Exhibitions/ News/ Events, Spring 2015

PLUMAGEPLUMAGEPLUMAGE---TXTXTX

IN THIS ISSUE

42

Unknown portraits of famed San

Antonio artist Jose Vives-Atsara,

IN EVERY ISSUE

A Note from the Publisher –P.8

On the Cover—P.12

Contributors— P.13

Framing of the Month—P.48

WHAT’S TRENDING

What’s new in the South Texas, San Antonio, Hill Country art Community—P.15

EVENTS

BPA—Parade of Artists, participating

venues, artists and listings—P.3

PLUMAGEPLUMAGEPLUMAGE---TXTXTX Premier Spring 2015 Issue

PUBLISHER

Gabriel Diego Delgado

Contributing Writers

Gabriel Diego Delgado

Katherine Shevchenko

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

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

© 2015

JR Mooney Galleries

305 S. Main

Boerne, Texas

78006

830-816-5106

Edited by Gabriel Diego Delgado, Marla Cavin, Katherine , Betty Houston

Design by: Gabriel Diego Delgado

A Note from the Publisher

“ITS OUR FIRST EDITION OF

PLUMAGE-TX MAGAZINE, AND I

COULD NOT BE HAPPIER. IT’S A

CHANCE TO SHOW THE LOCAL

COMMUNITIES THE EFFORTS OF THE

SOUTH TEXAS ART COMMUNITY AND

ITS AFFILIATES.”

There seems to be a void in the local

magazines that spotlight the individual

galleries and museums; their openings,

social programming and artists. 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, artist narratives,

interviews, criticism and a cohort of other art related stories. I hope you find

this informative and hope you continue to follow the artistic happenings

around you in your local neighborhoods.

Sincerely,

Gabriel Diego Delgado, Publisher

[email protected]

[email protected]


On the Cover

‘Every Second Saturday

of the Month, all the

galleries in Boerne,

Texas host the Second

Saturday Art and Wine

Crawl.’

This picture was taken to showcase the

exterior of J.R. Mooney Galleries of Fine

Art, Boerne; located at 305 S. Main St

Boerne, Texas 78006. The Second

Saturday events run from 4 pm—8 pm.

Galleries included in this monthly event

are: Carriage House Gallery of Artists,

COSAS Mexican Folk Art, J.R. Mooney

Galleries of Fine Art, Texas Treasures

Fine Art Gallery, Texas Treasures Gallery

of Art & Artisans.


Contributors

Katherine Shevchenko has attended 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 Painting. 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 contributions include writing articles, hosting and editing the J.R. Mooney podcast, "Mooney Makes Sense" and art catalog design. She is also an artist that specializes in painting in oils and other media.

Reviews/ Commentary/ Exhibitions/ News/ Events, Spring 2015, PLUME-TX Magazine / 13

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

Exhibitions at the Station Museum of

Contemporary Art, Houston; Project

Manager of Research and

Development at the Museo Alameda,

a Smithsonian Affiliate, San Antonio;

Community Outreach/ Communications Director for an art and

education nonprofit in Texas and is a working professional artist.

He is a Freelance Curator and Arts Reviewer for several

publications. 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.

‘Sip & Sign’‘Sip & Sign’‘Sip & Sign’

with Thomas Arvid

By: Gabriel Diego Delgado

Photography courtesy of Thomas Arvid

COVER STORY


‘Sip & Sign’‘Sip & Sign’‘Sip & Sign’

with Thomas Arvid



Thomas Arvid An Artistic Sommelier

he Texas Hill Country boasts over 42 wineries with an eclectic mix of palettes and vintages, so it is no wonder why Atlanta based, Photo-Realism Wine painter Thomas Arvid feels right at home when visiting the San Antonio / Hill Country area. March 13 – 15, 2015 marked the two year return of the internationally acclaimed painter to South Texas region with patrons treated to a VIP private preview dinner at Flemings in the Quarry, a Second Saturday Art & Wine event solo spotlight exhibition of giclee works on canvas that included four originals at J.R. Mooney Galleries in Boerne. Thomas Arvid is a self-taught artist with a signature angular perspective and compositional completeness- glass, bottle, and corkscrew. Arvid proceeds with deliberate off-the-canvas slants that seem to stunt the elements in a seemingly haphazard tipsy aesthetic-an Arvid tilted room effect. Larger than life wine bottles, corks, and other bar accoutrements can be seen in his distinguished downward still-life perspectives. Picture-perfect painterly renditions capture the hyperrealism studio set-ups that spotlight the reflections on the wine glass, the shimmer of the liquid and metallic silver finishes. Arvid’s obsessively seamless ovals, curves, and ellipses portray the physicalities of these still-lives better than photographs ever could. Over the past few years Thomas Arvid has celebrated his first museum exhibition, "Arvid: Reflecting the Good Life," at the Marietta Cobb Museum of Art in Marietta, Georgia; in addition to boosting a 5 year waiting list on original commissioned oil paintings. Prices on oils on canvas can reach $120,000 to $150,000. Understandably, he works wherever he can, often doing watercolor sketches and paintings on the plane flights as he travels back and forth from California and other wine sponsored events throughout the country.

I


A newer original titled: “Polishing the Silver” is a Mixed Media Proof on canvas featur-

ing the Silver Oak label, measuring 31 x 60 inches and valued at $10,000.00. Zach

Swangstu, Assistant Sales Manager at Thomas Arvid Fine Art, Inc. explains, “A mixed

media proof is a giclee on canvas that Thomas has put his brush to, customizing the

work of art and in doing so creating a unique masterpiece.

“Polishing the Silver” is a piece that only exists in a few homes

across the country and every one of them are different. It’s con-

sidered a mixed media because Thomas is using a giclee to start

and applies oil to the piece, using different mediums to complete

the overall work of art. As opposed to the $125,000

collectors are paying for Thom’s

original oil on canvas

masterpieces, a mixed media

proof valued at $10,000 is

attractively priced and still

holds the long-term value and

collectability as an original,

perfect for the Arvid collector

who is ready to take their first

step into the world of originals.”

Thomas Arvid’s artwork is a contemporary throwback and “tip of the hat” to what Arvid passionately explains as an artistic gesture-inspired by the heyday of hand tinting experimentations of Black and White photography.

Deliberate in his composition, gestural mark-making and subtle but striking color highlights, Arvid knows how to allow the viewer to enter into his lyrically liquor-esque world of art. The multi-media aspects of the newly acquired untitled original can be seen in Arvid’s calculated assertion to reveal the pencil and charcoal layers that would ordinarily be covered in the “Photo-Realist” venture of the painting process. Arvid comments on this decision as a way to express and illustrate a “sure-handedness” of technique and confidence of artistic quality. Like an artistic Spartan Warrior, Arvid is in proper form, being sure to formulate interrupted lines, skewed angles, and layered perspectives to harmonize the overall gestalt of the work.

Overall and obsessively obvious in his artistic grandeur, Arvid carefully crafts paintings with intervallic lines and non-conforming compositional esplanades; avenues and visual clues that present the viewer with an ability to feel as though they are joining the artist in his own studio, house or dinner table. He wants the audience to have a sense they can metaphysically reach into his painting and pick up the glass and drink the wine or rotate the bottle of wine to read the label; all without feeling self-conscious about an underlying “do not touch” taboo in this often misconstrued and misconceived elitist realm of art and wine.

© Gabriel Diego Delgado

‘Beauty ‘Beauty ‘Beauty to Share’to Share’to Share’

COVER STORY

‘Beauty ‘Beauty ‘Beauty to Share’to Share’to Share’

By: Katherine Shevchenko

Photography courtesy of J.R. Mooney Galleries

The Compare and Contrast of two

new artworks in the DYAD

“If I can share the beauty and what I feel inside about it to somebody else through my art, then that’s a success.”

-Sidney Sinclair

n anticipation of a new year of art making, Boerne artist Sidney Sinclair needed to define and pinpoint a thematic essence she would channel into her paintings for her “Dyad” Exhibition with fellow artist Bill Scheidt. Known for her traditional landscapes and abstract crosses, she pondered what direction she would take and had an epiphany about merging abstraction elements into her traditional landscapes, which became one of the unifying cruxes of her current body of work. Sinclair clarifies,

“I want to see if I can mix them a little bit…have some abstraction within some of the representational pieces. I’m not sure how that’s going to work out until I get in there and try, but I’ve started.”


The abstract painting Enlightened and the landscape Reaching for the Sky are two paintings that on the surface appear different in so many ways, but they are forged in tandem with emotive elements of color and composition that are used to impart to the viewer the extraordinariness of life. Enlightened is an abstract cross painting that is a detour from her traditional color palette that she utilized previously, which inhabited a golden realm of celestial yellows and earthy tones with hint of other rainbow hues. This painting enraptures one in the cooler spectrum of deep tones of violet and purple and swaths of intense magenta. The off center composition of the cross has a presence, with its textural fragments dissipating into the background and creating an ethereal ambiguity. There are metallic accents of gold that cause the eye to travel around the picture plane, highlighting the defragmentation of this cross as its boundaries become less defined by the textural applications. Regarding the different approaches to execution between abstract and traditional, “The piece takes over and it evolves into its own self and so, that part, you really can’t explain.”


Reaching for the Sky, a landscape oil painted in early 2015, is in a traditional, represen-tational style that depicts a peaceful embankment of trees and a river that is gently me-andering through. In this vertically oriented landscape, the sky is the main player in the composition, its dominating presence limitless, with clouds that are loftily present in the expanse of muted blues and subtle periwinkle. They are levitating delicately, vi-brating with warm yellows and subtle accents of rose pinks. At once, one feels kinship with this peaceful drama and is drawn into the painting. Gazing at the clouds one be-gins to see and feel the similarities between the two paintings. Unfettered, the clouds are columns of vaporous hues that reach skyward, reflecting the glory of the hidden sun. Within Enlightened, there is an immediacy of an emotional eternity expressed by the dynamic vivid colors that are also omnipresent in the tranquil vista of Reaching for the Sky. There is a diaphanous palette that is painted in a more intuitive manner within the clouds in Sinclair’s sky. These clouds do not reflect the light of an objective reality, but more of the ramifications of the internal psyche; this is where the intersection of the ‘old and new’ has subtly dawned. Even though Sinclair has just begun this new era of experimentation, the core tenet remains the same, despite the genre of the piece:

“Any kind of art that I do, I’m going to be expressing myself, what I see and feel that just

surrounds me and hope that I can impart that to someone

that’s looking at it.” Genuinely, Sinclair’s objective aims to communicate the shared human experience, the embodiment of the “specialness of life” no matter what genre she is employing at the moment, and that is what unites her work in spirit. As this journey of experimentation unfolds she is striving to bridge her two distinct styles in an attempt to forge ahead, to connect with her audience her vision of the world as she sees it.

©Katherine Shevchenko,


“The piece takes over and it

evolves into its own self and

so, that part, you really can’t

explain.”

Sidney Sinclair painting live at J.R. Mooney Galleries of Fine Art, Boerne

Detail: “A New World”, 24” x 36”, $2,400.00

COVER STORY

Glint on the Glass A

S parkle in the Eye Aldo Luongo and “The Hawk”Aldo Luongo and “The Hawk”Aldo Luongo and “The Hawk”

Glint on the Glass and a

parkle in the Eye Aldo Luongo and “The Hawk”Aldo Luongo and “The Hawk”Aldo Luongo and “The Hawk”

By: Katherine Shevchenko


“He has only 10 or 15

minutes left on the

clock of life…but he’s

living life to the

fullest and going out

in style…I want to be

like him in my twilight

years.”

R. Mooney Galleries, Boerne is proud to present three new giclées by Argentinean

artist Aldo Luongo. All three feature the white wiry haired character known as “The

Hawk,” who was created in tribute to his father, Rafael Luongo’s memory, who passed

away sometime in the 1970’s. The artist and his own father had a strained

relationship while he was alive, which might have led to some unresolved issues

needing to be addressed and hence the necessity of the conception of “The Hawk.”

His father’s most iconic and defining traits were the impetus to breathe life into this

character upon the canvas. He is also an envisioning of what his father would have

been like had he been able to live out his remaining years into his seventies and

beyond.

Over time, “The Hawk” started to epitomize more of an ideal character, a man that is

charismatic, jovial and living the life well lived, and eventually becoming Luongo’s own

design of how he would like to be. In Luongo’s own words, “he has only 10 or 15

minutes left on the clock of life…but he’s living life to the fullest and going out in

style…I want to be like him in my twilight years.”

“The Hawk” serves as a reminder in the artist’s paintings to enjoy all of life’s pleasures,

as they are fleeting. The Hawk usually dominates the picture plane and is the focal

point of the composition; wherever he is, he is usually displaying a vivacious grin and

is rarely without a glass of spirits in his hand. He is living on his own terms and

beckoning the viewer to do so as well.

Each reproduction immaculately exhibits Luongo’s masterful use of gestural

brushwork and shows why he has been a successful award winning artist for four

decades. He is the consummate modern day Post-Impressionist whose career has

been punctuated with splendid highlights and notable distinctions. He has had the

luminous esteem of being an official artist for the World Cup Games and Olympics for

Summer 1988, Summer 1996, and Winter 2002.

J


The White House has commissioned him twice to paint wooden eggs for their official

Easter Egg Hunt; these creations eventually became part of the Smithsonian Institute’s

permanent collection. While his originals may demand upwards to tens of thousands of

dollars; these high quality giclée reproductions are an accessible opportunity for the

collector to acquire some of Luongo’s artistry.

©Katherine Shevchenko Art Consultant


COVER STORY

60 th

Anniversary The

McNay

Museum

By: Gabriel Diego Delgado

Photography courtesy of The McNay Museum

and Rex Hausemann

014 marked the 6oth anniversary of the McNay Museum in San Antonio; giving praise and recognition to founder’s artistic vision. The McNay is one of the more unique and distinguished museums in Texas and the U.S. Billed as the first museum in Texas to be dedicated to modern and contemporary art, the museum’s six decades of collections, public programming and continued acquisitions set the bar for such art world accolades.

2

“Absolutely phenomenal & a real

honor...Growing up going the

McNay my mom was a docent

there... So not only was the show

an honor, but very meaningful for

my whole family, friends & fellow

artists." - Rex Hausmann, Artist


“We have been celebrating our 60th Anniversary since the beginning of 2014, reflective of the official opening of the museum in 1954”, says Dr. William J. Chiego, the museum’s Executive Director.

The McNay chose to kick off their celebrations with 3 major exhibitions: Beyond Love –Robert Indiana, Beauty Reigns: A Baroque Sensibility in Recent Paintings, and Intimate Impressionism. These three exhibitions highlighting the anniversary grasp to encapsulate the full scope of resources afforded to the museum; highlights from the existing collections, public programming, as well as the eccentric visual language, legacy and lineage of Mrs. McNay.

More than just the “Love” icon and his Pop Art influences, The McNay was able to feature over 100 artworks by Indiana, rounding out the experience with a 256 page catalog of the exhibition. “It is significant to point out that Robert Indiana has become one of the most important artists in the 1960’s -1970’s decade”, said Chiego.

“Beauty Reigns was co-curated by The McNay Museum’s Chief Curator, Rene Paul Barilleaux and highlighted 13 artists who were working in similar bold, colorful and exotic ways”, Chiego says.

Beauty Reigns: A Baroque Sensibility in Recent Painting at the McNay Museum captures a post-graffiti sensibility mixing visual elements of design, illustration, graphics, and artistic liberties; drawing the viewer into a world of sensory overload. With a stylized artistic appeal, Barilleaux sought to have the audience leave the museum walls and journey into a new realm, met by stimulus that engages us; reflective of acquainted and non-familiar imagery -- worldly as well as mysterious. He accomplishes this task and gives voice to a new generation of mixed eclecticism that breeds cohesive thought—visually and conceptually.

Intimate Impressionism was organized by the National Gallery of Art in Washington and featured over 70 Impressionist and Post-Impressionistic paintings,. Dr. Chiego highlights the fact that the Intimate Impressionism exhibition gave context to their existing collection and Mrs. McNay’s taste in French Impressionism. He boosts that with the success of just this one exhibition added 1,600 new members alone.

A recent spotlight of the museum’s celebrations includes a temporary exhibition of local artists, hand-picked to help in the yearlong festivities. “The museum's finale celebration included an electrifying McNay After Dark party, inspired by Mrs. McNay's legacy of supporting artists in her community aand geared towards the next generation of museum supporters included a two day pop-up exhibition featuring six Texas-based artists: Sylvia Benitez, Elizabeth Carrington, David Anthony Garcia, Allison Gregory, Rex Hausmann, and Leigh Anne Lester”, says Communications Director, Daniela Oliver de Portillo. The Pop-Up exhibition opened on Friday, January 23 and remained on exhibit over the weekend - Saturday, January 24, through Sunday, January 25, 2015.

With the 60th Anniversary in full swing, 2015 also has some surprises in regards to the celebrations, public programming and outreach. From Family Art Play, Free Family Days, Family Gallery Kits, Guided Cellphone Tours, and museum sponsored Art

Strolls, the McNay has a variety of family friendly options for those who want to expose their families, babies, toddlers, children and young adults to modern and contemporary art.

“You will see a continued push in a lot of public programs, workshops, and family days. We are constantly engaging our audiences within all age groups”, Chiego says. “Everything is ongoing; we want to push our attendance of our public programming… we are

currently developing areas we have not engaged before; the collection is a living thing and is growing in different ways”.

Future 60th Anniversary festivities include an exhibition of recent gifts and acquisitions exhibition titled: Rodin to Warhol: 60th Anniversary Gifts and Recent Acquisitions, February 18, 2015 to May 17, 2015.

“We have been holding back roughly two years of recent acquisitions from the public, and now is the time to show them”, says Dr. Chiego. This collection of artworks is curated by museum staff: René Paul Barilleaux, William Chiego, Lyle Williams, and Jody Blake.


Summer events will include a collage and assemblage exhibition titled: Recycled, Repurposed, Reborn, June 3, 2015 to August 10, 2015; and the fall will feature a touring exhibition of Joan Miró, among other special exhibitions. Extended future calendar exhibitions range from German Contemporary Art to Coney Island: Visions of an American Dreamland.

Although the 60th Anniversary is a major stepping stone for The McNay Museum, but they have multiple long range plans and strategic long term projects that will guide and lead them into the next 60 years. A twenty year master-plan includes the continued structural and building additions as well as modifications to the museum grounds with an exciting contractual pairing with famed architect, Michael Van Valkenburgh and a high profile Boston based architecture firm.

© Gabriel Diego Delgado

“...we are currently

developing areas we have

not engaged before; the

collection is a living thing and

is growing in different

ways”.


Jose Vives-Atsara

COVER STORY

Forgotten

Portraits

Forgotten

Portraits By: Gabriel Diego Delgado


B

efore Jose Vives-Atsara’s iconic landscape

paintings of Brackenridge Park and the Texas

Missions, highly stylized palette knife florals and

the animated art residency lecture series at

Incarnate Word College, his powerful and political

client base drove his international reputation.

Early in his artistic career and living in several

countries including Spain, Venezuela, and Mexico

City, Jose struggled financially. With a charismatic

and colorful personality, and a personal drive to

economically care for his growing family, Vives-

Atsara befriended many. In the varied

environments he found himself, he discovered an

eclectic array of visual stimulus.

Living in Mexico City, Mexico from 1949-1956, he found inspiration in the people,

the culture and the aura of the open air markets. Here, Vives-Atsara worked on a

series of portraits in the mid 1950’s. Although he was a traditional based artist,

painting landscapes, still-lifes and florals, his representations were seemingly

different. The portraits took on a more raw quality, a less refined appeal, giving

grace to the constant challenges of a landscape painter to project a portrait

painting.

Nonetheless, Vives-Atsara continued to explore this genre and was unrelenting in

his need to capture the essence of the people he loved and his pride for this new

country he called home. Although not as refined as his Texas based paintings, the

portraits give us a chance to see how the shortcomings of an artist yearning to paint

people produce such dynamic, almost naï ve portraitures.

Although his portraits do not demand the $20,000- $60,000 prices his large

landscapes and floral receive, they are a great addition to any collection. They are a

stable art market investment and have a continued appreciation value.


Two paintings by Vives-Atsara that are now only beginning to gain buzz in the contemporary social norms of a woman’s right to choose, pay equality, publicly breastfeed and other re-evaluations of gender based norms are epitomized by Mother and Child and Madre Indigena. Vives-Atsara’s motherly depictions are spot-on with a glowing aura of elegance as public feedings, no less controversial now than when these were painted, move within the women’s right to choose and her child rearing choices and actions in the public sector. Mother and Child is a side profile portrait of a

woman with her child. While facing to the left, the woman’s angle directs us down to the bundled child. The slope of the vegetation and agave plants in the background align with the sweeping features of woman’s body, exposing flesh as she nurses her young. We are directed along a visual route down through the pale blue coverings of the baby’s hood and jacket, pausing at the closed eyes. We can sense the calming of the innocent child during the sacred feeding and natural nourishment. Madre Indigena is a celebration of motherhood, but with an opposite compositional angle to Mother and Child. A woman and her baby share an embrace that illustrates the seemingly mundane daily routines of two individuals, caught up in their own symbiotic relationship, locked together in a grasp of life and death importance.


In the painting we see and acknowledge one needing the other for life, for sub-stance - a nurturing of spiritual and metaphysical essence. We, as observers, see the endearing grin of the mother looking down to the child, reminiscent of a reli-gious experience. Vives-Atsara’s setting, backdrop and environment in this painting speak to the proletariat, the worker in the field, the peasant and the mercado work-er; a public display of endearment that meets with mixed reactions depending on the viewing geography. While both can lay the groundwork for discussion, each maintains and depicts the underlying womanly obligations, a chastisable action by some, but painted with un-deterred nobility. Take time to appreciate Jose Vives-Atsara’s portrait series with an open mind. An artist’s desire to create knows no boundaries. When he found inspiration in what he saw, Vives-Atsara took that to the studio. Enchanted with the people and their ethnic diversity, he painted broad noses, thick hair and utilitarian garb, and strove to portray the social hierarchy. In his paintings, we see aspects of indigenous facial characteristics of these nameless people, but also familiar traits of our own Texas cultures. Art is universal, and in these rare portraits, Jose Vives-Atsara gives us a chance to see that. © Gabriel Diego Delgado

FRAMINGFRAMINGFRAMING

Framing of the Month

A client of International Firearms engraver, Weldon Lister III brought in this sepia

intaglio print to get framed. Our staff at J.R. Mooney Galleries, Boerne helped the

client choose a rustic wood frame, while floating the print on linen. The decision to

spotlight the deckle edges of the print paper gave it a nice classic look.

Lister is recognized as one of the top 44 living engravers by C. Roger Bleile in American

Engravers – The 21st Century. A third generation engraver, Weldon has been

spotlighted in publications ranging from Texas Monthly to Gun Digest. His engravings

on timeless firearms have gained him an expected notoriety. Using techniques ranging

from hand and chisel to Lost Wax castings, Lister’s signature aesthetic borders on ultra-

baroque; mixing in concise art deco embellishments. Lister is a member of the Firearms

Engravers Guild of America and the American Pistolsmiths Guild.


plumage-tx edition one spring 2015

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