winter 2015 edition of plumage tx vol 1 12 3 2015

PLUMAGEPLUMAGEPLUMAGE---TXTXTX Hill Country Magazine Winter 2015 Issue

Doc Spellmon The Doctor is in

Reviews/ Commentary/ Exhibi ons/ News/ Events

FREE

Women Who Dare Feminism in the arts

Texas Vintage Provenance in Boerne Outside InOutside In

Personal Reflec on Personal Reflec on Personal Reflec on

of Naïve Artof Naïve Artof Naïve Art

Windberg Cri cal Essay

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, Winter 2015

Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, 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.52

PLUMAGEPLUMAGEPLUMAGE---TXTXTX Winter 2015 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

525252 14

Insight of

the

Outside

Naïve Art Analysis


PLUMAGEPLUMAGEPLUMAGE---TXTXTX

FEATURES Winter 2015 Issue No. 8

28 New

Acquis ons

Recent selec ons at J.R.

Mooney Galleries of Boerne

Rolla Taylor

A er Market Stories

64 The “Doc” Is In

Art Consultant Cri cal Analysis

on Doc Spellmon

42


Women Who

Dare

Ar st Analysis

32

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]


On the Cover

As the cooler crisp air engulfs the Hill Country,

the mornings are so beau ful. This image was

captured si ng at the stop sign at the corner of

San Antonio St. and Main St. With mornings like

this, it is easy to see why the Hill Country is the

vaca on spot for a lot of Texans. Although the

mornings might be chilly, the call of the small

town charm is enough to persuade anyone.

Boerne is indeed a gem nestled in the gateway to

the Texas Hill Country. Founded by Free Thinkers

and the like, this close knit community has an

abundance of family friendly events, including

the park and recrea ons des na ons, restaurants

and many other a rac ons.


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


Gallery & Community


Insight of the OutsideInsight of the Outside “My Personal Experience “My Personal Experience with Naïve Art”with Naïve Art”

By: Gabriel Diego Delgado

bought my first major art

purchases and pain ngs a

few months a er

gradua ng with my Bachelor’s

Degree in Fine Art. A Fine Art

Studio major and colleague

persuaded me to join him (Jon

Read) and another friend (Tex

Kerschen) to visit the studio of

Rev. Albert Wagner. It was with

Wagner’s work that I would

begin my explora on into

“Outsider” or “Naïve Art”.

Wagner was one of those art

community figures who existed

outside the norm of tradi onal

fine art prac ces; someone you

would hear stories about. Thrown into the naïve “Outsider Ar st” genre, Wagner was a self‐taught ar st

and self‐proclaimed preacher with a church in his basement who lived on the east side of Cleveland, Ohio.

We were making a holy trek to see his work,

in what has been described by those

covering the economic development of

Cleveland as a signature crack neighborhood,

undoubtedly in one of Forbes most

financially miserable ci es. I was unfamiliar

with his legacy and was curious to see why

his persona had such an impact on a trusted

art associate. The story goes that he was a

fana cal womanizer and heavy drinker, who

in prepara on for his fi ieth birthday was in

his basement cleaning when paint spla ers

on the floorboards began speaking to him. It

was the voice of God telling him he needed

to change his life and turn to God and

preach. From that day on, he painted holy

relics of the gospel and conducted informal

church sermons in the basement. As a

prolific ar st he was able to create well over

3,000 works of art within his life me; most

of the sales of his work while he was s ll

I

“Wagner was one of those

art community figures who

existed outside the norm of

tradi onal fine art

prac ces; someone you

would hear stories about…”

Gallery & Community


by Michael Stravato; Courtesy of the Sta on Museum of Contemporary Art

by Michael Stravato; Courtesy of the Sta on Museum of Contemporary Art

alive were undocumented (like mine) where he took cash on the spot and sold the works off the walls of

his home. A er his death in 2006 at 82, his children held an auc on and sold over 800 works of art.

Upon arriving at Wagner’s studio we were greeted by a person, whether friend, colleague, family member

or caretaker was not apparent. We were told that the Reverend was s ll sleeping, but we could look

around if we wanted. When we went upstairs to the second floor, we saw the ar st. S ll woozy from a

late a ernoon nap, he was s ll

reclining in his bed when he invited

us into his room to share his art.

Stacks of pain ngs were amassed

on the floor around his bed, some

li ered on the peripherals of his

sheets. On that cold and windy

Ohio day I took home with me two

small religious pain ngs of the

baby Jesus and the Holy Mother.

A er mee ng the ar st, seeing the

house full of his vision, the way he

lived his life, you could not help

but be impressed and acknowledge

you were in the presence of

someone living on a higher plane

than yourself.

As my professional art career took

many turns and twists at several

art ins tu ons, I would go onto

meet other ‘outsider’ ar sts who

would have an impact on my

outlook of this genre. Jesse Lo , a

Houston based African American

ar st who called the 5th Ward

home, shared a studio with me in

the early 2000’s, or I shared it with

him. I felt his magic, his ar s c mojo, his Rastafarian energy. Lo is credited as one of the founding

members of the Project Row Houses in Houston’s 3rd Ward. Lo was/ is the mys cal godfather of the

African American Art community from the 1960’s to today. Texas Evangelical Forrest Price, with his

poli cal statements and divine teachings, showed me how to make art filled with hope, despair,

redemp on, guilt, gra tude, salva on and other worldly repentances. Price strived to live his life in a way

that complimented the Dead Sea Scrolls. An ar st beyond descrip on, his gentle demeanor allowed him

to serve the Lord in his own way but s ll maintain an aura of ar s c importance in the collec ve Houston

art community.

Image courtesy of Jon Read


When I recently saw the artwork of F.L. “Doc”

Spellmon, I knew I found my next “Outsider Art”

interest. For the exhibi on “Texas Vintage” at J.R.

Mooney Galleries of Boerne, we were able to

curate in three pain ngs by Spellmon in order to

help recognize his importance in the African

American art community of San Antonio during the

1950’s – 1970’s. A pioneer of African American

“Outsider Art”, Spellmon’s vision included

historical documenta ons about slavery atroci es,

ba les concerning the Buffalo Soldiers, aspects of

everyday life, gin dis lleries, African cultures,

religion and everything in between. Through the

renowned collector of Texas vintage art, Johnny

Wright from Fredericksburg, Texas, I was fortunate

to witness a wonderful array of over 40 original

Doc Spellmon pain ngs. Wright had purchased a

large estate of his work directly from the ar st

before he died. Wright was offering the gallery an

opportunity to share with our clients some of this

wonderful collec on. I immediately knew we

needed to have more of his selec ons in the

gallery for our patrons to experience. A er selec ng about 18 more pain ngs with the considera ons of

Art Consultant, Katherine Shevchenko, the decision was made to bring in a body of work as sort of an

appendage to the exhibi on; work that would be available for consulta on and reference the importance

of his career in the “Outsider” genre. As we began to document his artwork for the exhibi on catalog, we

also began to document the backs of the pain ngs along with the front image. The backs of canvases,

Gallery & Community


serving pla ers, boards, discarded wood other devices held an almost biographical anthology. Spellmon

would make his own art and exhibi on labels and affix them to the backs of the art. You could see labels

showcasing the various organiza ons and businesses he founded like the “Black Art Studio” LTD and “Art

By DOC”. Others included side jobs where he was immersed in the arts community bringing collectors

and patrons to art studios and organiza ons like the Carver Community Center with labels like, “Art Tours

by Appointment” and “Art You Can Iden fy With”. His comical side would emerge with s ckers on his

hangers, which read: “Guaranteed Life me Hanger”. This was o en placed on a crooked piece of recycled

wood or par cle board that was affixed to the back of the pain ng by way of nails, staples and glue with

an offset and non‐centered wire

hanger. In 1977 Mayor Lila

Cockrell declared F.L. Doc Spellmon

Texas Emissary of the Muses and

gave him his own City of San

Antonio sponsored Proclama on.

In Spellmon’s own way of ar s c

genius and merit he photocopied

that proclama on in various sizes

and affixed this document to the

back of his pain ngs a er August

24, 1977. So from a historical

context we can now see from the

back of the pain ngs when they

were roughly created, by way of

which s ckers were affixed to the

backing. Always accompanying

most pain ngs was a large self‐

portrait s cker with what would be

considered a business profile head

shot complete with a small two

paragraph bio of him with the

highest merit of quotes referencing

him back to Jackson Pollock,

Grandma Moses and others. O en

considered an “Outsider Ar st”

due to his visual and playful, and

mistakenly, naive imagery,

Spellmon actually acquired four degrees in his life me including a Masters in the Arts and taught pain ng

and drawing at Lackland Airforce Base in San Antonio. A prolific ar st as well, Bill Banks and Andrea

Marshall in the biography: F.L. Spellmon “The Life and Works of an African American Ar st”, published by

Banks Fine Art, LLC, men oned he par cipated in over 19 exhibi ons from 1986 – 1989.


Within the appendix selec on of pain ngs, four pieces stand out as ones that need further men on and

spotlight: a pain ng sketch tled “Bath Time” measuring 8” x 10” and it’s formalized larger complete work

“Bath Time” measuring 15” x 13”; two

pain ngs from the Buffalo Soldiers series

including “Ge ng Away” and “Two Iron

Men: Black Seminole Indian Collec on”.

The “Bath Time” series can be categorized

into his autobiographical series of

artworks. They harken back to the mes

of slavery or post‐Civil War with aspects of

the everyday life of freed slaves. A

pictorial assimila on of the heavyset house

slave who took care of the slave children,

“Bath Time” is a childlike illustra on of two children in a washtub being hovered over and scrubbed by an

African American woman in a red headscarf and blouse covered by a white apron. We see a shantytown

shack structure in the background

complete with paper‐collaged flowers in

the final larger pain ng. Both give credit

to the matriarchal role in African

American culture as well as the

rudimental outdoor plumbing that

existed in this me era. In today’s

contemporary art world reference, the

children’s faces remind me of the neon

body sculptures by American ar st, Bruce

“A pictorial assimila on of

the heavyset house slave

who took care of the slave

children…”

Gallery & Community


Nauman. I half expect the children to be animated and start poking each other in the eye or move their

heads in a mechanized jaunt of angular rota ons. Addressing the overall physical en ty of the actual

pain ng, both pain ngs have deliberately painted outer frames and course overlays of thick paint, marker,

ink, and other mixed media to give a layered concoc on of visual pleasure. Yes we see the children, the

mother and the house, but what we need to do is take me to ingest all the underpain ng; the layers we

can see only by bubbled protrusions under the final composi on. To first see the ‘Bath’ paint sketch and

compare it to the final pain ng, we can begin to dissect the ar st’s inten ons, his decisions and

formula ons to make one of his many pieces.

Historically, the pain ngs in the “Buffalo Soldiers” series of artwork are comprised of documented events.

In “Ge ng Away”, a smaller 13” x 17” pain ng, we see a Buffalo Soldier on horseback, facing backward,

shoo ng at what looks like Na ve Americans. However, contextually within the Buffalo Soldier’s legacy,

we know the Buffalo Soldiers were one of the only regiments that were able to sustain the harsh

condi ons of desert figh ng and chase the famous war chief, Geronimo, through Arizona. This could be

the famous Geronimo and his soldiers engulfed in a shoot‐out and daring escape from the 10th regiment.

“Two Iron Men: Black Seminole Indians Collec on” on the other hand portrays the Black Seminole scouts,

in some cases runaway and freed slaves, who ini ally joined the Seminole Indian camps in Florida and

Gallery & Community

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

were asked to enlist in the Army and fight in the Texas‐Indian Wars, where they had documented engagements with Comanche, Kiowa, Apaches and Kickapoos, a ached to and figh ng alongside the Buffalo Soldier regiments. The tle can refer to the weaponry, par cularly the sword and saber, or the tenacity of these men.

In conclusion, “Outsider Art” should not be

dismissed, ignored or deemed irrelevant.

In most cases, these ar sts exist on the

peripherals of today’s society. However, a

few, like Price, Lo and Spellmon have

become intrinsically important to the civic

makeup of their respec ve art

communi es. Their artworks drive an

importance that allows their legacy to

con nue, influencing future genera ons of ar sts, collectors, and appreciators. The outsider has now

become the insight‐er, revealing aspects of our collec ve cultures in a fresh light. Maybe we are the ones

looking in from the outside and they are the ones in their own profound earthbound nirvana.

“Outsider Art should not be

dismissed, ignored or

deemed irrelevant. In most

cases, these ar sts exist on

the peripherals of today’s

society…”


https://en.wikipedia.org/wiki/Comanche

https://en.wikipedia.org/wiki/Kiowa_people

https://en.wikipedia.org/wiki/Apache

https://en.wikipedia.org/wiki/Kickapoo_people

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

Staff Profile

Name: Gina Mar nez

Posi on: Art & Framing Consultant—Boerne, Texas

Summary: I graduated from AEW College of Photography and Louisiana

State University with degrees in photography and communica ons,

respec vely. My 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. I started ginimar ni photography in 2007

and worked extensively in Central and South America for 5 years. I

published a book called “The Kuna Yala” based on my stay with the Guna

Yala tribe of Panama. I have worked as an assistant to the painter Charles

Barbier on several murals in the city of Baton Rouge. I curated pop up shows of Louisiana ar sts at

various venues in Louisiana and Texas.

Favorite Song: This is always changing! “Sixteen or Less” Calexico and Iron and Wine, “It’s Raining” Irma

Thomas, “Cupid” Sam Cook

Favorite Ar st: Monet, Van Gogh, Charles Barbier, David Nino, Gauguin, Edward Cur s, Deborah Hay,

Yoshitomo Nara

Favorite Art World Memory: (I have many): Having Sandy Skoglund favorably review my por olio while

she was a guest instructor at my university is a fond art world memory. She liked my piece: “Jungle

Room” from my Graceland por olio and said she had seen images of this many mes but not from my

perspec ve. When I lived in Berlin, the curtains in my bedroom were made from the fabric that Christo

used to wrap the Reichstag building. Going to see the “Silence” exhibit at the Menil Collec on in 2012,

and pain ng murals with one of my favorite living ar sts, Charles Barbier, for home town improvement

projects are other favorite art memories. Par cipa ng in paint night, a weekly event for many years in

my life where my friends and I would gather together one night a week to paint, cook, play music and

create, is also a cherished art memory.

Goals: : My goal is also to promote the ar sts of JR Mooney Galleries of Fine Art to the best of my

abili es. My personal goals are to keep producing work: to write, photograph, dance and paint; to

perform more aerial silks rou nes, publish my book and show more of my work.

Gallery New

s


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, October2015, PLUME‐TX Magazine / 27

“Where’s My Lunch” by R.

Henderson

R. Henderson’s portrait of a cow

is no ordinary farm animal.

Instead of the natural browns,

whites and greens that one might

expect from a tradi onal bovine

pain ng, the ar st uses bold

bright colors: reds, purples, and

blues to create his animal. This

adds an element of excitement to

the pain ng, but there is more to

it than just wild colors. Even with

a non‐‐tradi onal pale e, the cow

appears realis c. This effect is

achieved by the ar st through use

of a pale e knife technique to

create texture and dimension in

the paint. The result is a Post‐

Impressionis c pain ng with a

pop art twist. The psychedelic

cow has a life like quality that

makes this a fun and lively

pain ng. The electric white paint

becomes fur falling around the

ears and the so friendly eyes of

the cow. This texture creates dimension and movement. His face is gentle and sweet, begging for a bit of

grass as he saunters over to the fence, s cking his head out in expectance of a nibble.

New Gallery

Acquisitions

“An Art Consultant’s Analysis” By Gina Martinez

Gallery New

s

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

“Watching Proudly” by R. Mizoy

This large majes c oil pain ng features

a Na ve American warrior si ng on his

white steed. The horse stands in

shallow water and in the background is

the warrior’s village. He wears a halo

war bonnet or headdress. These

headpieces were originally worn by

Plains Indian men who had earned a

place of respect in their tribe. The

headdress was worn only for special

occasions and was a display of courage

and honor. They were and s ll are

made of golden eagle feathers and are

some mes painted red to

commemorate certain events. To

obtain the feathers the men would

climb into the golden eagle’s nests and

pluck them from the young. Today, in

the United States, only enrolled

members of a tribe may legally possess

eagle feathers as the species is

protected. In the past, each feather

was earned, either in ba le or for a

good deed. If the warrior acquired

enough feathers one of his family

members would sew together the headdress. The warrior had to have the permission of the chief to wear

it and only few were awarded this high honor, as a man may collect only two or three eagle feathers

during his en re life.

Since the halo war bonnet was worn only during special occasions and by special people, it is likely this

warrior is reflec ng upon his life while on his way to a ceremony or other tribal event. His headdress has

much red painted into it, indica ng that he has a lengthy history of heroic deeds. The fact that his horse is

white is a symbol of his good character. Together, their physical reflec on in the water visually symbolizes

personal reflec on. The headdress he wears is a testament to the deeds and achievements that created

his legacy. He stands erect, alert in front of his village, s ll the protector. He has fought hard, hunted and

worked his en re life to keep his people safe and prosperous as is indicated by the headdress. Now, he

takes a moment for silent, proud reflec on.

“Where’s My Lunch”, R. Henderson, oil, 24” x 20”, $525.00

“watching Proudly”, R. Mizoy, oil, 40” x 30” , $1,735.00



Delgado

Come See Our New Lines of Custom Framing Designs

San Antonio Spotlight


omen Who Dare

omen Who Dare

W

“Reflections from an Artist’s Perspective”

Curated by Anel I. Flores and Sarah

Castillo

Written by Katherine Shevchenko


“Women Who Dare” was an all women ar sts exhibi on that was curated by Anel Flores of Artery Studios and Sarah Cas llo of Ladybase Gallery and held at the Carver Cultural Community Center in near downtown San Antonio and ran from November 5 – November 27, 2015. The core theme of the exhibit was to present the works of “San Antonio women ar sts who s mulate, provoke, and capture her viewers; allowing space for the movement and speed of the compe ng world to fall away.” The outcome of a theme of such a transcendent nature facilitated a contempla ve flowering of many dis nct ar s c languages with interpreta ons ranging from self‐portraits, dissec on of mys cal feminine archetypes to conceptual mixed pieces that explored topics such as heritage, race, fears and self‐discovery. In disclosure, I was one of the par cipa ng ar sts curated into the exhibi on, and my contribu on was a pain ng created specifically for the curatorial premise. Upon observing and processing the exhibi on as a whole, I felt it was integral to highlight how these dis nc ve artworks correlate to one another in a gender specific exhibi on.



One of first pieces that immediately captured my

a en on was Audrya Flores’ “Hand Talker,” created

from various fabrics, yarn, pins, and prickly pear cac‐

tus. According to her ar st statement, anxiety has

been a struggle that insidiously “manifests itself in my

hands through fist clenching, fidge ng or swea ng.”

“Hand Talker” essen ally is a visual metaphor that

unveils this internal ba le by depic ng a figure made

of cut out fabric, curled up in sheets, with white

menacing hands advancing towards her. In the met‐

al wrought frame, appendages made from dried cac‐

tus hang, visceral metaphors of the destruc ve na‐

ture of anxiety coming forth within the subconscious

dream state.

Le cia R‐Z’s “Psychopomp Altar I,” is a three dimen‐

sional work which presents two anima figures con‐

structed of wool felt with animal skulls for heads

posed and mounted on circular fabric covered

frames. Psychpomps, whose origins are from Greek

mythology, are en es that act as intermediaries to

guide souls to the other side or through states of

transmuta on. In reference to the Roman Catholic

tradi on of milagritos, R‐Z has placed a receptacle to

accept offerings from supplicants that are in need of

the psychpomp’s assistance, as evidenced by the

presence of a lock of hair that has already been

placed within.

“...anxiety has been a

struggle that insidiously

“manifests itself in my

hands through fist

clenching, fidge ng or

swea ng.”...


In my submission, I also

scru nize death and transi on

through my oil and egg tempera

pain ng tled “La Mys ca.” In

this old masters’ mixed

emulsion technique pain ng, I

present a portrait of a woman

that is half alive and the other

half is being consumed by many

vibrantly hued fungi and other

natural elements of decay, in

order to confront the viewer

with the constant transitory

state that existence always

resides in. The subject’s

s mulus stems from momento

mori, the La n phrase meaning,

“remember you will die,” which

has fueled a whole thema c

branch of art, notably the

vanitas, s ll lifes that are made

to depict the earthly realm’s

most impermanent nature.

“Take One. Just Begin” by

Stephanie Torres is an

interac ve work, fabricated of

handmade li le journals with colorful

paint spa ered covers that each

represent the ar st’s “…own willingness

to take a risk,” placed upon a table with

crayons and other drawing tools. The

ar st simply asks the par cipant to take

the miniature journal and start

something, in any form or fashion; a

cheering taunt to start a journey that one

has been reluctant to venture forth on,

due to fear, or in her case a “paralysis of

perfec onism” brought on by anything

that is crea ve.

“...woman that is half alive and

the other half is being

consumed ...in order to

confront the viewer with the

constant transitory state that

existence always resides in.”



Maria Luisa Carvajal de Vasconcellos embraced “the story telling power of the paintbrush” to heal from a

crippling nine year depression that was the result from grief of losing her husband when she was thirty‐

nine. Within her pain ngs are the stories of many women in all the many stages and phases of their

lives, with a so and voluptuous styliza on. In “Tequila,” one can only fathom what the lady seated is

pondering, seated alone at a table, with a half

empty bo le, surrounded by melancholy blue.

Linda Arrendondo has created a quadriptych

en tled the “Medusa” series that are female

portraits that are painted with fluorescent

colors complete with writhing sinuous snakes

for hair. She describes her medium of choice,

watercolor: “feminine, loose, delicate, light…

It’s not a material that is controlled or

dominated but one where some of its best

parts are fueled by serendipity and

compromise.” It seems those traits are the

exact ones the Medusa women are channeling, sensuous, so ness and a hint of unpredictability. The

portraits are arranged in a square format, crea ng a striking visual affect, due to the bold colors, and

solidarity of contrast. They gaze out, fierce and enigma c, challenging the viewers.

Viewers had the opportunity to be educated about an uncomfortable episode of racial tensions from

Texas history brought to light from the archives in Claudia Zapata’s installa on project, “Dedicated to

Hazel Sco ” about the African American pianist who cancelled her 1948 performance at the University of

Texas due to segrega on of the audience members. Hazel Sco ’s legacy is reexamined, through videos

of her performing playing on screens installed above the gallery space, poster media and informa onal

‘zine’ style pamphlets.

Ques ons about racial and cultural supremacy are also scru nized in Raquel Zawrotny’s “Melanin in

Gold” a quadriptych done in acrylic ands mixed media that was ini ally inspired by the controversy the

Miss Japan contestant winner generated because of her mixed racial heritage. The theme of “Melanin”

seeks to “ques on society’s views of women, par cularly Black women…” Zawrotny’s second goal was to

present Black women and their cultural heritage in an engaging light. In each of the portraits she adorns

her subjects with exquisite costumes and colorful embellishments with vibrant colors on a field of gold

leaf in order to illuminate their dignity and humanity.

Ashley Mireles has created a series of portraiture “…..And To All Those Who Died, Scrubbed Floors,

Wept, And Fought For Us, which is a series of mixed media portraits that have been produced on

handmade paper derived from organic materials that come from the ar st’s immediate surroundings,

such as “Texas soil, debris, and fallen pecan trees.” The subjects are rendered in amber hued stylized

lines on a Plexiglas that has been mounted over a mauve textural paper. Depicted are “significant

figures” that Mireles has manifested from stories told by those close to her. Through these portraits she

seeks to enshrine their tales of perseverance and contribu ons to her life and others.


Some of the ar sts chose the method of portraiture to facilitate the theme’s

interpreta on as a method of self‐reflec on. Adriana M. Garcia has painted her self as a

way of rela ng with the world around her. Her use of transparent oil glazes and

geometric elements work in tandem to facilitate a sense of a transcendent space within

her canvas, her

gaze looks off

toward the side

off the panel, in a

contempla ve

percep on, with a

resonant calm

that is further

accentuated with

her choice of

showing a desert

horizon

background, with

white intersec ng

lines that are

etheric indica on

of connec on.

Kristel A. Puente’s

“Disambigua on

of the Introverted

Megalomaniac” is a photograph of the ar st herself, imbued with decora ve elements

that reflect her own contemporary style and at once channeling the infamous Mexican

ar st, Frida Kahlo. The photograph is framed in ar ficial roses that reference the flowers

that are adorning her hair, in homage to Kahlo’s iconic style. Instead of na ve Mexican

folk dress, the ar st is dressed in a contemporary

T‐shirt, and is brandishing ta oos and the ‘bird’,

confronta onally gazing out at the viewer,

channeling the defiant spirit of the celebrated

ar st, uncompromising and comfortable in her

own skin.

Amanda Bartle ’s sculpture piece “Un tled”

consists of two pieces, one being a spiky metallic

armature shell that resembles a stylized

anatomical heart. A feminine touch is evident

within the inner lining, as it appears to be encased

in lacey and so material protected by the metal



“Overall, the effect of the

exhibi on produced an

in mate and confessional

atmosphere, a self‐portrait of

each of the ar st’s inner

psyches, and an establishment

of trust to unveil those

innermost thoughts and

emo ons.”

armature, an undeniably an intricate testament to the strength, vulnerability and resilience of emo on.

Overall, the effect of the exhibi on produced an in mate and confessional atmosphere, a self‐portrait of

each of the ar st’s inner psyches, and an establishment of trust to unveil those innermost thoughts and

emo ons. The Feminine is redefined in many mul faceted expressions, manifes ng through each ar sts’

own unique hands, as individual

as a fingerprint.

Women Who Dare was on

exhibi on at the Carver Cultural

Community Center

November 5 – November 27,

2015

©Katherine Shevchenko, Art

Consultant

For More Informa on about the

Exhibi on:

h p://ladybasegallery.com/2015/10/20/women‐who‐dare/

Source:

Flores, Anel, and Sarah Cas llo. "Women Who Dare." Ladybase Gallery. N.p., n.d. Web.


Design by Katherine Shevchen

ko

Design by Katherine Shevchen

ko

The The “DOC” “DOC”

Is InIs In

The “DOC”

Is In The Art of F.L. “Doc”

Spellmon: A Closer

Look

By: Katherine Shevchenko

Cri

cal A

nalysis


recently had the pleasure to become acquainted with the artwork of F.L. “Doc” Spellmon, an

African American ar st who produced works in various media in San Antonio, Texas, and was most

prolific during the 1980’s. Known as having an affable and joyous nature, Spellmon created pieces

that were informed by recent Black history yet emulated experimental processes that included

collage, found objects, and layers of painterly applica ons. On the surface, Spellmon’s pain ngs and

drawings appear naïve and are even categorized as “outsider” due to their character of dispropor onate

figures, use of found materials, collaged elements, and a pale e that at mes bordered on the fringes of

Day‐Glo in its earnestness, all sealed with a finishing touch of sprinkled mul colored gli er. The

applica on of the layers of paint and ephemera some mes buckle and create undula ng surfaces. A

textural narra ve topography, his artworks were born of sincere contempla on of prime issues that

permeated his consciousness: civil rights, the nearly forgo en and overlooked Black culture of the rural

South, and religious themes. Through his crea ve process a transmogrifica on occurs with the touch of

his hand, and suddenly

mundane materials are

transmi ng drama c

parables of mes past,

present and future.

I Cri

cal A

nalysis


“Girls Picking

Berries” is an acrylic

painted on an oven

baked serving

pla er that is

mainly octagon‐

shaped, portraying a

slice of life subject.

It shows a

microcosm of a me

and a place, through

a subset of a more

idyllic and

sen mental lens,

due to the presence

of two black girls

with skin painted in

exaggerated depth

of cartoonish tone,

almost bordering on

Blackface caricature

that all his figures

seem to possess in

his works. They are

in search of berries

growing along the

riverbank, with

sacks hopefully

becoming heavy

with bounty. In the

distance is a quaint

looking village: a

cluster of white houses with red earth colored roofs with a focal point of a church and a white cross,

exaggerated in scale. The ruby red sun is the only other subject that competes for a en on, located in the

upper central por on of the composi on. In the middle ground, there is a body of water with a boat

carrying two fishermen who are in repose, contribu ng to the poignancy of a moment of leisure. Perhaps

it is Sunday, the day of rest, as in mated by the cross that is a guidepost for the community. The chance

to catch a moment of respite and to catch up on life’s pleasures, however humble, is in no way diminished

by its significant meaningfulness bestowed on well being, like a fresh berry in all its succulent sweetness.


In contrast to tranquil moments, Spellmon also explores inner

nightmares and demons that emerge from the murky psyche,

and can hearken a deathlike night of the soul. “That Day,” a

mixed media piece, emotes an undeniable power, as

disembodied faces with menaced expressions float in a field that

covers the picture plane. The color scheme has taken a

departure from bucolic pleasantry to one dominated by black

with sickly greens and yellow tones with jarring accents of

aggressive orange. The dominant faces are primi ve, made by

black, almost crude scrawling strokes. Mask‐like and resembling

skulls, they are posi oned in quadrants around the composi on.

Interspersed throughout are a mul tude of smaller faces, done in

a simpler fashion, yet the expressions are not lost, as they sink in

a morass of anonymity. Various hues of paint are layered upon

the collaged paper, plastered upon black board. The ar st has

not le or revealed any other reference to an event or in

par cular a clue as to the context this piece could be alluding to.

What is revealed in plain sight is a ges cula on of observa on of

human moral fallibility. An overall consensus of oppression overwhelms, and transcends beyond just a

specific range of linear historical me as the layers of faces cluster and get subsumed in the overall chaos

but are yet held in place by the monumentally sta c posi on of the anchored specter heads. The urgency

is all too apparent in the frenzied applica on of the colors slashing across the panel, crea ng a

thunderous monument to the voiceless

downtrodden.

Spellmon was the son of a minister and spent

hours poring over the illustra ons in his biblical

texts, kindling his lifelong love for art, which he

“never outgrew.” “Madonna and Child” is an

example of Spellmon incorpora ng religious

archetypes into his signature style, infusing the

Madonna’s skin tones with an exaggerated

“blackness.” As she holds the infant, his ny

elongated arms reach out for an embrace.

Gli er is used as an element, perhaps as a

unifying sealer of the en re surface, as it has

been applied liberally all over the pain ng. A

radia ng halo of various colors and lines

emanates from the Madonna’s head and is

representa ve of spiritual light and energy.

The features of the Madonna and child are

rendered in a naïve and outsider fashion, with

“...his crea ve process

a transmogrifica on

occurs with the touch

of his hand, and

suddenly mundane

materials are

transmi ng drama c

parables of mes past,

present and future.”

Cri

cal A

nalysis


white brush stroke outlines for the eyes and mouth, yet the expressions of calmness are apparent. Even

though Spellmon has an art degree and is formally trained, he makes deliberate choices with rendering

inordinate figura ve propor ons and using an outsider applica on with his methods, which are the core of

his expressionis c appeal. There seems to be an underlying imbuement of frenzied applica on as

evidenced in the many layers of vibra onal linear brush strokes that compromise the halo rays; the

mul ple layers of gli er produce chroma c excita on that unify the pain ng as an energe c prayer.

Philosophically and aesthe cally his intent stems from the inward need to express and tap into the

powerful connec ve ability of art that builds bridges from past memories of a specific culture, me, and

place that could have been forgo en to be seen and viewed by the light of the present day.

©Katherine Shevchenko, Art Consultant, Boerne

Sources:

Banks, Robert H., and Andrea Marshall. F.L. "Doc" Spellmon. Dallas: Banks Fine Art, 2014. Print.

Cri

cal A

nalysis



Delgado

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830.816.5106


antastic rames

antastic rames From Art Nouveau to Traditional, framing is very versatile.

As seen in the two new selections by LARSON-JUHL, home

décor can include elements of nature in the frame itself. As

described by Gina Martinez, we witness the elegance of

framing a landscape with a flair for juxtaposing traditional with

ornate.

Home Accessories


A Frame at the Water’s Edge

“A Framing Consultant Spotlight”

By Gina Mar nez

Art and Framing Design Consultant

“Selec ng the right frame for a piece of artwork can be a challenge. It is important to find the right

materials and framing design to compliment the work and to understand how it relates to it. A

frame is a design element itself and there are several aspects to consider.” The Water’s Edge” by

J. Yoon is a large and colorful oil pain ng that shows a floral landscape mee ng a pond. It is

important to consider the size, texture and feeling of the pain ng when considering a frame.

Home Accessories


For this work, we stacked two moldings together to create a

frame size that is to scale with the pain ng. There is no rule of

how wide a frame must be, but in this case it must be wide

enough to cover the borders and strong enough to support the

weight of the canvas. The next element to consider is the

texture of the pain ng. This oil pain ng makes use of impasto

techniques and that paint becomes the layers of grass and

growth reaching out towards an abundantly thriving pond. For

this example, stacking not only creates a frame that is the

proper size, but also one that has layers just as the pain ng

does. Texture also exists in the materials chosen for the frame.

Distressed wood and gold leafing comprise the frame, all

natural looking just like the pain ng. Finally, the overall

aesthe cs are important to consider when framing. It is

important to choose a frame that will be congruent with the

style of the pain ng.

The slip moulding is Roma brand, Palladio #760055. This

moulding features natural wood fillet aligned with a gold carved hand finished frieze that has a C‐Scroll

pa ern that resembles leaves or grass blowing in the wind and completes the sight edge of the frame. The

frieze por on of the sight edge is very delicate. Roma’s website describes it saying: “More than ten layers

of colorant, hand‐applied leafing, pa nas and wax are applied to achieve the desired finish of this highly

architectural moulding.” It brightens the pain ng and the warm tones enhance the subtle ligh ng that

bathes the flowers and reflects off the water. The gold mo f por on of the sight edge also breaks up the

complimen ng woods which add another layer of texture to the overall frame. For the back edge (or

principal moulding), Roma Cabane #261059 was used. Roma describes: “Our Cabane mouldings rus c

charm, rich hues and subtle highlights of color are hand applied and distressed by skilled ar sans whose

careful a en on to detail evokes the beauty a ained only by me and nature.” The thick distressed wood

has a warm tone that compliments the rich hues of dark green, purple, and blue found in the pain ng as

well as the hand finished gold and wood of the sight edge. It is solid and sturdy just like the mighty trees

that are in the forest behind the pond, and it is in keeping with the natural style of the artwork.

Overall, the organic ornate sight edge paired with the distressed wood back edge of this frame does not

overwhelm the serene scene near the water, but rather encapsulates the jewel tones of the pain ng like a

filigree band holds a brilliant emerald or sapphire. The overall design creates a uniform frame that is

classic, natural and elegant.

Source: A Guide to Appraising Fine Art, course manual Ch. 7

www.romamoulding.com www.larsonjuhl.com/glossary.aspx


http://www.romamoulding.com

http://www.larsonjuhl.com/glossary.aspx

Home Accessories

LARSON‐JUHL

Moulding

“Nouveau” Series

3 3/16” wide

A collec on celebra ng the

elegant, nature‐inspired designs

of the Art Nouveau style. This

selec on is available in bronze,

gold and silver. Decora ve floral

and organic plant designs adorn

the profile of this stylized

moulding. More informa on can

be found at:

www.larsonjuhl.com


LARSON‐JUHL

Moulding

“Imperial” Series

2 7/8” wide

Ornate Tradi onal as described

by Larson‐Juhl, this highly

decora ve frame moulding will

add a touch of elegance to any

pain ng. Available in wood,

silver and gold. More

informa on can be found at:

www.larsonjuhl.com


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

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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

Custom Framing

Conservation

Museum

Fine Art

Photography

Shadow Boxes

Ready-Mades

Original Paintings

Giclees & Prints

Picture Lights

Fine Art for All Fine Art for All

OccasionsOccasions 60 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015


“Texas Vintage” -Spotlight-

Quietly the night falls in Dalhart Windberg’s oil pain ng, “Up Late.” A muted bluish pale e, casts a slumberous atmosphere, yet beneath the moon glow ripples so ly disturb the reflec on of a pond as two ducks swim languidly in unison.

Windberg, known for his immaculate and detailed technique that was inspired by viewing the Old Master’s pain ngs in Europe, has presented a nigh me scene that is true to life. Windberg’s signature “smooth surface” pain ng technique is ideal for

recrea ng delicate features of a nocturnal moment such as the slivers of moonlight illumina ng the bare branches of trees that encircle the midnight blue pond.

A gentle lunar radiance highlights muted earthy green tu s of grasses that are growing upon the moonlit water's bank, further showcasing Windberg’s eye for capturing detail. The reflec on of the moon brings a en on to the two feathered inhabitants of the pond. The highlighted ripples are zigzagging and leading the eye to travel further back into the distance, across the grassy plain that harbors a variety of reddish browns and golds, towards the horizon, where a couple of dwellings are nestled in the blue‐gray shadows. A lone light is on in one of the homes, the only indicator of a presence that is awake in this late hour, a me for restora ve contempla on.

©Katherine Shevchenko, Art Consultant, J.R. Mooney Galleries, Boerne,TX

©Katherine Shevchenko, Art Consultant, J.R. Mooney Galleries, Boerne,TX

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

1.800.537.9609



Delgado

Fair Market / After Market Value

Summaries of Current Art Market

Selec ons from A er Market



The pain ng by ar st, Roll Taylor tled, “Gilbeau House, South Flores St.” is an oil pain ng on Morilla Company canvas panel, measuring 12” x 16”. With a horizontal landscape composi on, “Gilbeau House’s” subject ma er is a pink, yellow and brown two story house with an A‐frame front sec on and a rectangle back sec on. (The Gilbeau House is referenced in a later pain ng as a slave quarters house in the south.) A large cross shape adorns the front door which is bookended by two ver cal window sec ons. Two small windows are centered above the front door, acknowledging the second level. One side of the house under the pitched roof on the le is encased in a shadow with the opposite right side more illuminated. The composi onal foreground of the pain ng consists of a 2” sepia toned ground between the house and the front of the canvas. The ar st has signed the pain ng on the lower right corner with: “Rolla Taylor 62”. The 62 is offset and slightly below the ar st signature. Both signature and date are in a darker brown color. The background behind the house is of minimal vegeta on that consists of mul ple hatches of an array of green hues. The sky behind the house is a pale blue color with hits of blush in a sec on where the sky and trees meet by the angles of the roof. The house, which takes up a majority of the composi on, is pocked by two main yellow patches of color on either side of the front door. The right side of the angled roof that spreads over the right side of the house extends off the picture plane of the canvas. The top roof of the back sec on of the house has painted lines that slant down toward the front of the house that mimic a metal roof. The ar st has painted this pain ng with a flat brush. On the reverse side of the pain ng, (back), the ar st has tled the pain ng in the sec on provided by the Morilla Company labeled: “Title”. It reads “Guilbeau House S. Flores St. SA”, wri en in pencil. Also on the back is a provenance from another gallery. This s cker is a white Altermann

Fair Market / After Market Value

Summaries of Current Art Market

Selec ons from A er Market


Galleries & Auc oneers business s cker with black print that gives the name of the gallery and contact in‐forma on. The lower part of the Altermann s cker has the gallery label on it for this pain ng reading: Rolla Taylor (1872 ‐ 1970) Guilbean House Oil on Canvasboard 12 x 16 inches CP‐156668 This label is placed on the lower le backside of the canvas panel. Also on the lower right side of the canvas panel is a set of numbers and le ers in black pen ink that reads: “V821”. There are also several swabs of oil paint on the back panel of the canvas board. There is a tear on the dust cover on the back canvas board on the top le side. There is also dust cover bubble separa on of the paper from the back of the board about 3” from the right side. Rolla Taylor Bio Born: 1872 (Galveston, Texas) Died: 1970 Known for: cityscape/ landscape pain ng of Texas and Mexico Rolla Sims Taylor, originally from Galveston, Texas, started pain ng at the age of 14. Before arriving in San Antonio, Texas in 1889, the Taylor family spent several years in Houston and then traveled to Cuero, Texas by covered wagon. Taylor graduated from the Cuero Ins tute and later studied in San Antonio with Robert Jenkins Onderdonk, Jose Arpa and Theodore Gen lz. Later he studied in France for 3 months, and with Arthur W. Best in San Francisco, and Frederick Fursman in Michigan. Taylor was a personal friend of the ar st Julian Onderdonk. Taylor exhibited frequently for 60 years, including local, state and numerous na onal exhibi ons through‐out America. His first exhibit was in San Antonio in 1894, at which he won first prize of $500 and later sold the pain ng for another $500. He painted in the impressionist style, lively with color and flooded with sun‐light, which represents Jose Arpa's influence. His subjects were mostly old buildings, shacks, landscapes, San Antonio River scenes, missions of San Antonio, blooming cactus, and scenes of old Mexico. During his earliest years, his subjects would be a pair of shoes, a cat, some books, Mexican jugs or anything in the home. Many of his local pain ngs are now of historic interest that recorded buildings that no longer exist.


“Irish Flats SA”

12.3” x 16”

Unknown date

Oil on Canvas

Sold 04/30/2014

Dallas Auc on Gallery

2235 Monitor Street

Dallas, TX 75207

*Source: www.askart.com

This pain ng is of similar size, but on canvas instead of canvas board. The date is unknown, but its tle references San Antonio, TX. The Irish Flats were a real geographical boundary in San Antonio which does not exist any longer. The pain ng was auc oned off over one year from this appraisal’s effec ve date. The composi on is similar but not exact; this pain ng has more landscape elements. It is signed but not dated. It seems to be a less impressionis c with more smooth brush stroke edges signifying earlier in the ar st’s career. Dallas Auc on Gallery had a high es mate of $2,500 and a low es mate of $1,500. The final hammer price was $1,500 with an auc on fee to the buyer at 20%. The final sale price was $1,200, excluding fees. Since this seems to be from the earlier part of the ar st’s career and less impressionis c of the ar st’s more mature style, I would es mate “Gilbeau House” slightly above the $1,200 sale price of this pain ng. Over one year has passed from this auc on date and the art market on Texas Vintage has increased in popularity and higher sales in the San Antonio area, which can be jus fied by regional and local auc on houses recording increased sales.

“Old Stone Shed”

16” x 20”

Unknown date

Oil on Canvas

Sold 10/18/2014,

Heritage Auc ons

3500 Maple Avenue

Dallas, TX 75219


This pain ng is slightly larger than the

“Gilbeau House” pain ng and is an oil

pain ng on canvas. However the similarity is

in the subject ma er and composi on;

including painterly style with looser

brushstrokes. Although the date is unknown

we can see from the style of brush stroke this

pain ng was nearing the same meframe as

“Gilbeau House”. The ar st did sign it on the

front, but did not date it. Heritage Auc ons

placed a high bid of $3,000 with a low bid of

$2,000. The hammer price was $2,000 with a

20% buyer’s fee from the auc on house. The

final sale price of the pain ng excluding the

fees was $1,800. Although we do not know if

this is a place in San Antonio, TX the

architecture is similar to the ar st’s Texas

landscapes.

Since the size of this pain ng is bigger than

“Gilbeau House”, I would place the value of

“Gilbeau House” slightly lower in price than

the $1,800, but taking into account we know

the date and loca on of the “Gilbeau House”.

Plus, over one year has passed from this

auc on date and the art market on Texas

Vintage has increased in popularity and

higher sales in the San Antonio area, which

can be jus fied by regional and local auc on

houses recording increased sales.

“The Guilbeau House”

12” x 16”

1962

Oil on Canvasboard

Sold 08/10/2013

Altermann Galleries

345 Camino del Monte Sol

Santa Fe, NM 87501


This auc on was in 08/2013 which is over two

years ago. The resale market for Texas Vintage

artwork has increased along with its interest.

The auc on high es mate for this pain ng was

$1,000, with a low es mate of $800. The

hammer price was $720. This includes a 20%

buyer’s fee from the auc on house. The final

sales price of the pain ng, excluding the fees

was $576. As compared to the previous

comparables, this past sale is in the lower end

of a er‐market auc on prices. I feel it was not

a true fair market value and placed well under

the low es mate of the auc on house’s

projected bid. Its elements of San Antonio

reference, oil on canvasboard and not

watercolor, mature style and dominate

composi onal structure all play a role in its

value.

The house was painted several mes by the

ar st, making it a constant reference in his

artwork, similar to his con nuous series of the

San Antonio Missions. I would place the

current fair market value of this work well

above the $1,000 high bid es mate of

Altermann Galleries in their auc on of

08/2013.

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305 S. Main St

Boerne, TX

78006

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entrusting your

cherished memories

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experience in custom

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We carry a versatile

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many more!

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Art Open

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The “Texas Vintage” exhibi on

at J.R. Mooney Galleries

of Boerne

Behind the Scenes

&

Opening Night

Art Open

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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


December is full of ac vi es, of course as expected, so what can you do to maximize the fun factor? Some people are en ced by the entertainment of sound and lights, others may be more sa sfied by flavors and savory nibbles, yet another group might enjoy the ability to touch or acquire. The good news is all of our senses can be fulfilled by just following the long list of events this month.

Being new to Boerne, I look forward to shopping local, ea ng new flavors special to our cherished Hill Country and catching a musical act (big or small) that conjures an old world holiday feel or just good ole country!

This is a list by type of event in and around the Hill Country and I hope it’s helpful in sa sfying all of the senses!

Arts and Entertainment:

Ford Caroling Nights with Santa at the River, Arneson River Theatre, River Walk, December 4th from 6 p.m. – 9 p.m. and December 5th from 8 p.m. ‐ 10 p.m. h p://www.thesanantonioriverwalk.com/events/ford‐caroling‐nights‐with‐santa

Stars Over Texas Concerts Christmas Show with Country Music Legend, Recording Superstar and the original “Urban Cowboy”, Mickey Gilley, and the Grammy Award Winning “Urban Cowboy Band”, and the outstanding back up vocals of the “Urbane es” on Sunday, December 6th at 3 p.m. in Kerrville www.caillouxtheater.com

The Ten Tenors Home for the Holidays, Boerne Champion Auditorium, December 17th at 7:30 p.m. www.boerneproformingarts.com

Food and Drink:

The Christmas Wine Affair is all about the WINE! $60/couple or $35/individual cket includes ONE collec ble ornament from Texas Hill Country Wineries, a full complimentary tas ng at each par cipa ng winery with a limit of 4 wineries a day and a 15% discount on 3 bo le purchases. December 4‐20th, 2015 h p://texaswinetrail.com/store/item/2015‐christmas‐wine‐affair

Even

ts

http://www.thesanantonioriverwalk.com/events/ford-caroling-nights-with-santa




http://www.caillouxtheater.com/

http://www.boerneproformingarts.com/

http://texaswinetrail.com/store/item/2015-christmas-wine-affair




New to BoerneNew to Boerne By: Melisa Adriana Belgara


Tamales at the Pearl, The Pearl Brewery, enjoy live music and performances, a children's area in the Pocket Park, as well as delicacies from 40+ tamale makers. Tamales Holiday Fes val is FREE and open to the public, no cket necessary. Saturday, December 5th from 12 – 6 p.m. h p://atpearl.com/happenings/tamales

Shopping:

Two Days of Oma’s Christmas Cra s Fair, lunch and photos with Santa, Opa’s Chili cook‐off and awards, December 5th and 6th from 9 a.m. ‐ 5 p.m. h p://www.kcfa.org/p/ge nvolved/307

Fredericksburg Trade Days, Shop with more than 350 vendors in seven barns, acres of an ques, live music and more. December 18 – 20th Physical address: 355 Sunday Farms Lane, parking is $5 h p://www. gtradedays.com/

Boerne Market Days, located in the heart of the historical district on Main Plaza. Open Saturday 10 a.m.‐5 p.m. and Sunday 10 a.m.‐4 p.m., December 12th ,13th,19th and 20th this event has become synonymous with great shopping in an outdoor se ng with ar sts, cra smen and vendors with background music of some of Texas' best home grown musicians. h p://www.boernemarketdays.com/boerne.html

Big and Li le Kid Fun:

Weihnachts Parade, a long standing Boerne Christmas tradi on. 2015 will be the 29th anniversary. December 5th from 6 p.m. – 10 p.m. h p://www.ci.boerne.tx.us/564/Weihnachts‐Parade

Random’s Ugly Sweater Party/Contest including a visit from Santa, ornament pain ng and live music, December 19th from 4 to close h ps://www.facebook.com/RandomTexasFamilyFun/

Select your own Christmas Tree at Pipe Creek Christmas Tree Farm, Tuesday ‐ Saturday December 1st ‐ 19th, h p://www.hill‐country‐visitor.com/event/select‐your‐own‐christmas‐tree‐at‐pipe‐creek‐christmas‐tree‐farm/105019

By: Melisa Adriana Belgara

http://atpearl.com/happenings/tamales

http://www.kcfa.org/p/getinvolved/307

http://www.fbgtradedays.com/

http://www.boernemarketdays.com/boerne.html

http://www.ci.boerne.tx.us/564/Weihnachts-Parade

https://www.facebook.com/RandomTexasFamilyFun/

http://www.hill-country-visitor.com/event/select-your-own-christmas-tree-at-pipe-creek-christmas-tree-farm/105019




winter 2015 edition of plumage tx vol 1 12 3 2015

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