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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
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
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
6 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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
8 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 9
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.
10 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 11
Available at JR Mooney Galleries—Boerne / www.jrmooneygalleries.com / 830-816-5106
Arthur McCall “Light Snow” Acrylic on Panel 24” x 24”
Photography and Design by: Gabriel Diego
Delgado
Rex Hausm
ann
Spotlight Feature
14 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
Sketch
Books
Notes, Drawings
and Thoughts
OH MY!!
By: Gabriel Diego Delgado
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 15
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
16 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 17
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
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 19
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
22 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 23
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.”
24 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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,
AMPF, Max Moulding and many
more!
Come in today and have a
consultation with one of our
framing designers and be inspired!
Custom Framing
Conservation
Museum
Fine Art
Photography
Shadow Boxes
Ready-Mades
More...
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
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 25
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.
28 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 29
Custom
Framing
Conservation
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Fine art
Photography shadow
boxes
Ready-Mades
More
Original
Paintings
Giclees &
Prints
Picture Lights
1.800.537.9609
210.828.8214
830.816.5106
www.jrmooneygalleries.com
antastic rames
antastic rames A new look for 2016
Home Accessories
32 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
Home Accessories
Wall Moulding
“8750’s Series
2.50” wide
This unique framing sample in
three stain color finishes is from
the Tuscany series with a two
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.
34 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
58 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Triple Essence Seasonal Prints Essays of G. Harvey
By Gina Martinez
38 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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
40 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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.”
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 41
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
42 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 43
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305 S. Main St
Boerne, TX 78006
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8302 Broadway St
San Antonio, TX
78209
210-828-8214
1.800.537.9609
www.jrmooneygalleries.com
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”
46 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 47
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
48 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
“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”.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 49
Custom Framing
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Picture Lights
s 1.800.537.9609
210.828.8214
830.816.5106
www.jrmooneygalleries.com
305 S. Main St
Boerne, TX
78006
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Art Open
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Second Saturday Art & Wine
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December 12, 2015.
52 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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
56 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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.”
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 57
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.”
58 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
305 S. Main St
Boerne, TX
78006
830-816-5106
8302 Broadway St
San Antonio, TX
78209
210-828-8214
Custom Framing
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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
Conservation
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Fine Art
Photography
Shadow Boxes
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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
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
62 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 63
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
64 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
Happy Holidays from .R. Mooney Galleries of Fine Art– Boerne, TX.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 65
About Town
66 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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.
68 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
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”.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016, PLUME‐TX Magazine / 69