Society of Animal Artists Society of Premiere Animal Artists 51st Annual The Dennos Museum Center Exhibition & Northwestern Michigan College Art and the September 17 - December 30, 2011 1701 East Front Street, Traverse City, Michigan Animal Tour (231) 995-1572; dennosmuseum.org

2011-2012 Dual Tour

One-half of the exhibition will tour west to: One-half of the exhibition will tour south to:

The Wildlife Experience Peninsula Fine Arts Center November 19, 2011 - February 19, 2012 January 21 - March 25, 2012 10035 South Peoria, Parker, CO 101 Museum Drive, Newport News, VA (720) 488-3300; thewildlifeexperience.org (757) 596-8175; pfac-va.org

Dunnegan Gallery of Art Appleton Museum of Art March 15 - April 15, 2012 College of Central Florida 511 N. Pike Avenue, Bolivar, MO April 12 - June 12, 2012 (417) 326-3438; dunnegangallery.com 4333 E. Silver Springs Blvd., Ocala, FL (352) 291-4455; appletonmuseum.org

Dates subject to change. Be sure to check with venues for exact days/hours of admission.

Art and the Animal is available for display at art, cultural, and scientific institutions. For tour information, contact:

David J. Wagner, L.L.C., Art and the Animal Tour Office (414) 221-6878; [email protected] David J. Wagner, Ph.D., Tour Director american-wildlife-art.com davidjwagnerllc.com

Member

Copyright © 2011 Society of Animal Artists, Inc. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without written permission from the publisher. Printed in the U.S.A. Society of Anim a l A r t i s t s

Art and the Animal 51st Annual Members Exhibition

Premiere The Dennos Musem Center Traverse City, Michigan September 17–December 30, 2011

Society of Animal Artists • www.societyofanimalartists.com • www.societyofanimalartistsmuseum.com 5451 Sedona Hills Drive • Berthoud, Colorado 80513 • (970)532-3127 Society of Anim a l A r t i s t s

The Society of Animal Artists is an association of painters and sculptors working in the genre of animal art. Subject matter is open to the entire spectrum of the animal kingdom. Beginning in the 1950s, a group of nine artists began meeting to exchange ideas as well as to enjoy the camaraderie of their peers. In 1958, they mounted an exhibition titled Animals in the Bronx Zoo, sponsored by the New York Zoologi- cal Society. The enthusiastic public response to their exhibition inspired Patricia Allen Bott and Guido Borghi to form the Society of Animal Artists. Today there are almost 500 members residing in the United States, Africa, Australia, Canada, Europe, South America, Asia and Japan. The Society is dedicated to the portrayal of our living heritage and its preservation through demonstrations, seminars, lectures and exhibi- tions. Officers Diane Mason Allen Blagden Leslie Delgyer President Vice President Secretary

Douglas Allen Stephen Quinn Reneé Bemis Vice President Vice President Treasurer

Executive Board

Charles Allmond Marilyn Newmark Donald Rubin James Coe David Rankin John Ruthven Susan Fox Paul Rhymer Joseph D. Swaluk Jan Martin McGuire Joan Binney Ross Joseph Vance, Jr.

Executive Board Emeritus Louis DeDonato Wayne Trimm

Executive Board Advisory Committee Janet Heaton Dorcas MacClintock Francis E. Sweet Laney Bob Mason Staff

Bob Mason Teresa Rives Executive Director Administrator

4 M e ssa ge from the Pre s ident of Society of Anim a l A r t i s t s

Following our very successful 50th Annual He has not only facilitated this exhibition opening, Exhibition opening in San Diego last year, the but has once again provided us with outstanding Society of Animal Artists is delighted to be subsequent tour venues which will extend the holding its 51st Annual Exhibition at the beautiful opportunities for viewing this outstanding Dennos Museum Center in the ‘San Diego of exhibition to other areas of the country. David the north’… Traverse City, Michigan. It is always and Deanna Rankin have once again produced an a thrill to be able to introduce the work of our outstanding exhibition catalog of which we can members to an entirely new audience, and visitors all be proud. The SAA is also most fortunate to to the Dennos Museum Center will be rewarded have many other individuals who work tirelessly to The Wisdom Keeper,Screech owl, Bronze, with an outstanding selection of some of the finest by Diane Mason, SAA President keep this organization functioning at the highest animal art being produced today. The current level. These include the members of our Executive definition of animal art continues to evolve, and our members are at Board, who serve faithfully at a cost of considerable personal time the forefront in their interpretation of their subject matter and their and frequently their own financial resources. Wes Siegrist serves innovative approaches to the use of art materials. Tour Director David faithfully and efficiently as our Webmaster. And I could not do my J. Wagner, Ph. D. has pulled together a complimentary exhibition job without the professional services of both Bob Mason as our of several works by three “Old Masters” of the genre which will be Executive Director, and Teresa Rives as our Administrator. But most displayed separately but concurrently with our exhibition, and it will of all the Society of Animal Artists is the exceptional organization it is be fascinating to compare the works of the past with those produced because of our members, who produce some of the most creative and by SAA members today. exceptional artwork in the world. Thank you for supporting the SAA with your membership, and your participation in our exhibitions. The 51st Annual exhibition is only made possible due tothe contributions of many individuals. We wish to thank Eugene A. —Diane D. Mason Jenneman, Director of the Dennos Museum Center, and his staff for providing us the opportunity to bring our exhibition to the people of beautiful northern Michigan. As always, we are indebted to Tour Director David J. Wagner Ph.D. for his tireless work on our behalf.

5 SOCIETY OF ANIMAL ARTISTS AND ITS ART AND THE ANIMAL EXHIBITION

The Society of Animal Artists is an- or Art and the Animal exhibit scheduled to appear at The Wildlife Ex- ganization comprised of members who perience and The Dunnegan Gallery of Art, I and all members of The produce the best animal art in the world. Society of Animal Artists hope that The Dunnegan and The Wildlife Consequently, The Annual Exhibition of Experience will re-schedule another exhibition very soon. The Society of Animal Artists and its trav- eling exhibition, Art and the Animal, have While half of the 2011 Annual Exhibition is traveling west, the other become the standard by which all others half will travel southeast to The Peninsula Fine Arts Center in New- are measured. port News, VA, and then on to the Appleton Museum of Art, Col- David J. Wagner, Ph.D. lege of Central Florida in Ocala, two venues that have never before This year, the Society’s Annual Exhibi- hosted Art and the Animal. A special feature of this half of the exhibi- tion is being hosted by The Dennos Museum Center, Northwestern tion is the inclusion of a complete, first-edition volume of American Michigan College, in Traverse City, which marks the first time it has Ornithology by Alexander Wilson on loan from Sybil G. LaBudde, premiered in the state of Michigan. Were it not for Society of Animal along with framed plates from American Ornithology and Audubon’s Artists members Annie Crouter and Kim Diment, the premiere of the Birds of America on loan from the James Ford Bell Museum of Nat- 51st Annual Exhibition most certainly would not be in the state of ural History at the University of Minnesota in Minneapolis, and Michigan. I wish to acknowledge Annie and Kim for their initiative framed plates from The Viviparous Quadrupeds of North America by to bring Art and the Animal to the state of Michigan, and to encour- Audubon, Bachman et al, and from The Natural History of Carolina, age other members to follow their example. Following the premiere, Florida, and the Bahama Islands by Mark Catesby on loan from Joel one-half of the Annual Exhibition will tour to Parker, Colorado for Oppenheimer in Chicago. display at The Wildlife Experience and then to The Dunnegan Gal- lery of Art, in Bolivar, Missouri. The other half of the 2011 Annual In conclusion, I would like to express my deep appreciation to Exhibition will travel to The Peninsula Fine Arts Center in Newport Diane D. Mason, President of the Board of Directors of the Society News, Virginia and then to The Appleton Museum of Art, College of of Animal Artists, and to Executive Director, Bob Mason, both of Central Florida in Ocala. whom have devoted so much of their time to the stewardship and administration of the organization. Finally, thanks to all past and I wish to thank Director, Eugene A. Jenneman, for facilitating the pre- present members of the Society of Animal Artists. Your artwork and miere of the 51st Annual Exhibition at The Dennos Museum Center. participation are what make the Annual Exhibition of the Society of I remain indebted to Dave and Gail Liniger, founders of The Wildlife Animal Artists and its traveling exhibition, Art and the Animal, the Experience, for hosting Art and the Animal since 2002, and to Exhib- standard by which all others are measured. Thanks as always for the its Manager, Connie Mohrman, for her role in its installation. I also opportunity to work with you and share your art with audiences na- remain indebted to Jo Roberts, Director of The Dunnegan Gallery of tionwide. Art for hosting Art and the Animal since 2009. Though this is the last —David J. Wagner, Ph.D. Curator/Tour Director and Author, American Wildlife Art 6 T h e M i c h a e l a n d B a r ba r a D e n n o s M u s e u m C e n t e r

The Premiere

The Michael and Barbara Dennos Museum Center at Northwestern Michigan College is the premier cul- tural center serving northwestern Michigan. Its mission is to engage, entertain and enlighten its audiences through the collection of art; and the presentation of exhibitions and programs in the visual arts, sciences and performing arts.

Opened in July 1991, this 40,000 square foot complex features galleries offering a dynamic array of chang- ing exhibitions throughout the year; a spacious lobby/sculpture court for exhibitions and social events, a “hands on” Discovery Gallery offering interactive experiences for children of all ages; a Gallery of Inuit Art showcasing selections from one of the largest and most historically complete collections of Inuit sculpture and prints in the United States produced by Aboriginal artists of the Canadian Arctic; and a museum store with exhibition and collections related merchandise. Completing this complex is the 367 seat Milliken Auditorium offering a wide range of lectures, video offerings and musical performances with an emphasis on jazz, blues and world music along with an array of community performances.

The Museum holds a collection of nearly 2,000 works of art, of which 1,000 works are Inuit art along with a significant collection of outdoor sculptures by noted international and Michigan artists that can be found on the beautiful campus of Northwestern Michigan College.

To learn more about the Dennos Museum Center go to www.dennosmuseum.org

7 Society of Anim a l A r t i s t s A w a r d P r o g r a m 2 0 1 1

The Award of Excellence

Since 1979, the Society of Animal Artists has presented its Paul Bransom’s “Catasus” logo, these bronze medals are the highest honor, the Award of Excellence for those works most important artistic awards bestowed by the Society. of art in each SAA Annual Exhibition which are judged The winners are selected each year by a prestigious panel to represent the highest standards of artistic excellence. of judges chosen from art and natural history institutions Designed by the late noted sculptor, Donald Miller, from across the nation.

In addition to the Award of Excellence, the Sponsor Awards listed below will also be presented at the opening of the 51st Annual Exhibition.

The Hiram Blauvelt Art Museum The Leonard J. Meiselman The Ethology Award for the Best Depiction Purchase Award—An acquisition for the Museum’s Memorial Award for a Realistic Sculpture of Natural Behavior in any Medium— permanent collection executed in an Academic Manner—Donated by Donated by Bob and Diane Mason the Leonard J. Meiselman Foundation The Patricia A. Bott Award The Southwest Art Editor’s Choice Award for Creative Excellence— The Leonard J. Meiselman —Donated by Southwest Art Magazine Bequest of Patricia A. Bott Memorial Award for a Realistic Painting executed in an Academic Manner—Donated by The Evelyn and Peter Haller The Western Art Collector Editor’s Choice the Leonard J. Meiselman Foundation Memorial Award for Sculpture— Award—Donated by American Art Collector/ Bequest of Evelyn M. Haller Western Art Collector Magazine The “Newcomer” Award for a First-time Par- The President’s Artistic Achievement Award— ticipant in the SAA’s Annual Exhibition— Anonymous Donated by Masood and Joy Garahi

Judges for the 2011 Exhibition Don Luce Pamela Rasmussen, Ph.D Bruce B. Winslow Curator of Exhibits Assistant Professor Director Bell Museum of Natural History Michigan State University, Alden B. Dow Museum of Science and Art University of Minnesota Department of Zoology Midland Center for the Arts Minneapolis, MN Assistant Curator, Museum of Mammalogy Midland, MI and Ornithology, MSU Lansing, MI 8 Art and Sue deLearie Adair, SAA Pat E. Gilmore Leo E. Osborne, SAA Dana Lee Thompson The Animal Al Agnew, SAA Daniel B. Glanz, SAA Leon Parson, SAA France Tremblay Douglas Aja Sue M. Gombus Rick Pas, SAA Debra L. Trent, SAA Society of Animal Charles Allmond, SAA Shawn K. Gould, SAA Cristina G. Penescu, SAA Gunnar Tryggmo Artists’ members Tom Altenburg, SAA Peter Clinton Gray, SAA Patricia Pepin, SAA David H. Turner, SAA represented in the Julie Gretal Askew, SAA Grant V. Hacking, SAA Louise Peterson, SAA Kent Ullberg, SAA 51 st Annual Chris Bacon, SAA Guy Charles McNeil Harvey, David Petlowany Lani Vlaanderen Exhibition Gerald Balciar, SAA Ph.D., SAA Bryce L. Pettit Sue Westin, SAA Tammy L. Bality Janet N. Heaton, SAA John R. Potter Ronnie Williford, SAA Entire membership Robert M. Bateman, SAA Nancy Howe, SAA Arlene A. Rheinish Kay Elizabeth Witherspoon, SAA listed on page 145 Julie Bell Leslie Jane Hutto Paul D. Rhymer, SAA Steve Worthington, SAA Renee Bemis, SAA Wes Hyde Rosetta, SAA Aaron C. Yount, SAA Thomas J. Bishop, SAA Clint Jammer Joan Binney Ross, SAA Allen Blagden, SAA Brett Malcolm Jarrett Linda Rossin, SAA Beatrice Bork, SAA Brian Keith Jarvi, SAA Kenneth R. Rowe, SAA Peta Boyce Stephen A. Jesic Edward Royal, SAA Burt Brent, SAA Brenda D. Johnson Jon Ruehle, SAA Carel P. Brest van Kempen, SAA Steve Kestrel, SAA Bart Coleman Rulon, SAA Dan Burgette, SAA Brenda Will Kidera Terri L. Russell, SAA Dan Chen, SAA James R. Kiesow, SAA Jonathon Paul Sainsbury, SAA James Coe, SAA John K. Kobald, SAA Sherry Salari-Sander, SAA Guy Coheleach, SAA Laney, SAA Laurence Saunois, SAA Mary L. Cornish Brent A. Langley, SAA Sharon K. Schafer, SAA Anni M. Crouter, SAA Rod Lawrence, SAA George L. Schelling, SAA Patricia M. Davis, SAA T.J. Lick, SAA Suzie Seerey-Lester, SAA Andrew Denman, SAA Diane D. Mason, SAA Jan Sharkey Thomas, SAA Kimberly Rae Diment, SAA Walter T. Matia, SAA Cathy Sheeter, SAA Kelly Ann Dodge, SAA Sally Maxwell Rachelle Lee Siegrist, SAA Mick Doellinger, SAA Jan Martin McGuire, SAA Wesley (Wes) Scott Siegrist, SAA Lori Anne Dunn Gregory I. McHuron, SAA Morten E. Solberg, SAA Lisa Egeli Darin T. Miller, SAA Heather Soos Lyn Ellison Terry Miller, SAA Pati Stajcar, SAA Beth Parcell Evans, SAA Billy-Jack Milligan Tiffany Stevenson Anne S. Faust, SAA Sean R. Murtha Joseph H. Sulkowski, SAA Cynthie Fisher, SAA Ken Newman, SAA Francis Edward Sweet, SAA Susan Fox, SAA Marilyn Newmark, SAA Darlene G. Swibb Kathleen M. Friedenberg, SAA Alison Nicholls, SAA Jason L. Tako, SAA Anita P. Gersch James M. Offeman, SAA Kristine Davis Taylor, SAA Jim Gilmore Munenori Okada Fred W. Thomas, SAA 9

S o c i e t y o f A n i m a l A r t i sts

Art and the Animal

All artist members of the Society of Animal Artists are eligible to participate in the Annual Exhibition, but artwork is selected in a highly-competitive jury process. Each year, many wonderful works of art must be rejected because of space restrictions. In addition to excellence, the jury must attempt to select an exhibi- tion which presents a good diversity in terms of subject matter, art mediums, dimensions of artwork, and geographical distribution of artists.

Titles of artworks are given in italics. If not included in the actual title, the common species name is provided on the next line. Unframed dimensions are listed as height by width for two-dimensional works, and height by width by depth for three-dimensional objects. Dimensions are given in inches. Society of Animal Artists ~ Art and the Animal E xhibition 2011

SUE DeLearie ADAIR, SAA I came upon this green frog while hiking along a dark water behind the animal, and the fact that it Resides: Schenectady, New York stream at a preserve in southern Albany County is an amphibian. So I decided to call the painting b. 1960, New York, USA in New York State. I took a number of photographs Evolution and perch the frog on a rock full of fossils of the frog and whenever I looked at them it made instead of the log it sat on in the field. Evolution me think of the first creature to crawl out of the Green Frog sea onto the land. I think this was because of the Watercolor and Colored Pencil 5.5 x 6

12 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The Northern Lights—aurora borealis—are an in the Arctic, the ice is coming later and later, and Al Agnew, SAA awe-inspiring sight, but no more awe-inspiring the bears struggle to live in a hungry land until Resides: Ste. Genevieve, Missouri than the magnificent polar bears roaming the shore they can once again find good seal hunting in the and Livingston, Montana of the Arctic Ocean as autumn advances. Soon the extreme habitat to which they were once perfectly b. 1952, Missouri, USA seas will freeze and the bears will roam far upon adapted. the ice, though with the advance of climate change Arctic Rhythms Polar Bear Oil 20 x 30 13 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Douglas Aja Unlike other animals, elephants seem to recognize the in the skull. One can only speculate as to what they are Resides: Montpelier, Vermont dead of one of their own. Although they pay no atten- thinking at this time. b. 1956, Vermont, USA tion to the remains of other species, elephants always re- act to the body or bones of a dead elephant. When they These elephants are part of Cynthia Moss’ study group Mourning Erin come upon an elephant carcass they stop and become in Amboseli National Park. The skull belongs to Erin, African Elephant quiet and tense. They smell it and then cautiously ap- who died as the result of being speared. Erin’s mother Bronze proach and begin to touch it. The head and tusks are of Echo has her trunk wrapped around the skull while her 9 x 23 x 8 particular interest to them. They run their trunks along young calf Email approaches from the side. the tusks and jaw and feel in all the crevices and hollows 14 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Shakespeare’s observation that brevity is the naturally by the wayside and one arrives at Charles Allmond, SAA soul of wit is valuable advice for artists as well simplicity. This piece is all about gesture. It is Master Signature Member as speakers. It is my view that the objective of the relationship between the birds that evokes Resides: Wilmington, Delaware art should be to express an idea in as straight- an emotional response from the viewer. Addi- b. 1931, Delaware, USA forward and coherent a manner as possible, go- tional lifelike detail is not required. ing for the jugular so to speak. Detail that adds A Tender Moment Swans nothing to the furtherance of the objective falls Utah Alabaster 17.5 x 10 x 9 15 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Tom Altenberg, SAA I would describe this work as a gorilla portrait. This particular gorilla Resides: Raymore, Missouri graciously posed for me at the Kansas City Zoo. b. 1958, Kansas, USA

Man in Black Silverback Gorilla Acrylic 26.5 x 17

16 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Being a diptych, this painting is primarily about compositional Julie Askew, SAA and tonal balance within the boundaries of the chosen subject - Resides: Stratford-Upon-Avon one thought but each piece capable of standing alone. Warwickshire, England b. 1969, England Fall in the midwest never fails to inspire. Autumn Dawn - Diptych White-tail Deer Acrylic 12 x 12 17 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Chris bacon, SAA As you “read” the mist, a narrative sets up… and the moment almost passes. Master Signature Member Resides: Burlington, Ontario, Canada b. 1960, Watford, England

Flotilla Mute Swan Watercolor 19 x 30.5 18 Society of Animal Artists ~ Art and the Animal E xhibition 2011

My object was to depict a flock of ducks taking off challenge was to make it appear that the ducks were Gerald Balciar, SAA in flight. I started with seven ducks and started flying up out of the cattails without being attached Master Signature Member arranging them to get the best composition. After to them, and that the sculpture have good composi- Resides: Parker, Colorado rearranging and much changing, the ideal simple tion from 360 degrees. b. 1942, Wisconsin, USA composition was accomplished with 3 ducks. The Up, Up and Away Ducks Bronze 21 x 19 x 12 19 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Tammy L. Bality I have always felt a bond with animals and aimed I combine traditional influences with a variety of Resides: Loveland, Colorado to recreate that feeling in art. Drawing on a vari- mediums to create innovative art that gives voice b. 1963, Colorado, USA ety of life experiences and technical workshops, I de- to nature’s spirit. I enjoy exploring the strengths veloped my own signature style utilizing different of each medium—the freedom and spontaneity of Cliff Dwellers mediums to create unique pieces representing our ceramic, the strength and precision of bronze, the Peregrine Falcon interconnectedness with animals and capturing luminosity and intrigue of crystal. Crystal and Bronze not only their images but also their spirits. 22 x 16 x 8

20 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The Serengeti is still the most spectacular place year. This road is for commercial traffic and Robert M. Bateman, SAA in the world to see thousands of large animals will open up remote areas to human interfer- Master Signature Member in a very diverse ecosystem, living as they have ence, especially the bush meat trade. I saw this Resides: Salt Spring Island, British done since long before the beginning of human scene on my last visit. The powerful dark and Columbia, Canada history. However, a huge threat hangs over this light shapes caught my eye instantly and be- b. 1930, Ontario, Canada unique heritage. A major road is proposed to cause of my admiration for the abstract art of cut through the great migration route, which Franz Kline I saw the potential for a painting Wildebeest and Egrets Oil on Canvas the wildebeest, zebra and others follow every immediately. 24 x 48 21 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Julie Bell It started so suddenly and lasted so briefly that we together and seemed to be in a trance. The feeling Resides: Allentown, Pennsylvania were amazed we could capture any of it in photo- was as ancient as the world and captured the entire b. 1958, Texas, USA graphs. First, a few hackles started to raise, then some history of the development of life on this planet. very deep growls. The wolves started to huddle closely The Order of Wolves Oil 18 x 24

22 Society of Animal Artists ~ Art and the Animal E xhibition 2011

“Stretched Out” was created after years of fishing off the ReneÉ Bemis, SAA Pacific coast of Costa Rica. The Marlin bite is spectacular, Resides: Dekalb, Illinois with the opportunity to catch and release many in one b. 1958, Florida, USA day; the thrill you experience when watching a couple of hundred pound marlin fly out of the water, and dancing Stretched Out Blue Marlin all over the top of the ocean, is beyond your imagination. Bronze 15 x 8 x 9

23 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Thomas J. Bishop, SAA Although most artists tend to concentrate on, or quiet, dainty and beautifully colored in a subtle Resides: Scottsdale, Arizona highlight, the male wood duck, because he is so and fragile fashion, presenting a myriad of textures, b. 1940, Iowa, USA handsome and brightly colored, I selected to paint from the very soft feathers of her crown to the sheen this female. on her bill and surfaces of her larger feathers. This The Mind is Shoreless and Still one has just popped up from doing a dive, with Female Wood Duck I’ve always thought that the female wood duck was water droplets still sprinkling her feathers and bill… Acrylic among the most demure of waterfowl, something adding some additional reflective surfaces to further 7 x 10 I tried to capture in this painting. They are small, enhance her image.

24 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I am fortunate enough to have been to Kenya twice, this large bull was emerging from the smoke like an Allen Blagden, SAA and the Cape buffalo remains a formidable mem- uncertain apparition that I had to try to capture in Resides: Salisbury, Connecticut ory. Lightning often sets fire to the dry grass and a painting. b. 1938, New York, USA

Wild Fire Cape Buffalo Oil on Canvas 38 x 30

25 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Beatrice Bork, SAA This painting evolved from my interest in what was or hearing any bees. Bees are fascinating creatures, Resides: Flemington, New Jersey happening to our honey bees. It was a spring day and we owe so much to this one insect, it really be- b. 1966, New Jersey, USA and I was enjoying the feel of warmth from the sun came important to me to do this piece. after a cold winter, and as I was checking out the Bees spring blooms it really hit me that I wasn’t seeing Honey Bees Watercolor 9.5 x 4.5

26 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Sunbirds are always a delight to see and early one feeling cool. Cat Tien is a refreshing break away from Peta Boyce morning I was thrilled to see these beautiful little the hustle and bustle of the large cities in Vietnam Resides: Mooloolah Valley, birds feeding on the flowers of a vine growing outside and the park has an astounding variety of birds and Queensland, Australia my tent. I was staying in Cat Tien National Park in other wildlife living there, all within a few hours’ b. 1957, Australia Vietnam and there had just been an early morning drive of Ho Chi Minh City. shower of rain leaving everything looking fresh and Breakfast For Two Olive-backed Sunbirds Gouache 10 x 8 27 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Burt Brent, SAA “Mayan Splendor” is a sculpture that is more than 40 years in the making. With permis- Master Signature Member sion from the Director of the Archeology Museum of Guatemala City in 1968, I made Resides: Portola Valley, California molds and casts of the finest Mayan hieroglyphs in Tikal, the center of the Mayan Indian b. 1938, Michigan, USA culture located in the depths of the Petén Jungle in northern Guatemala. For some time I’ve wanted to create a sculptural composition that combined these with the unique mot- Mayan Splendor mots we spotted there. The challenge was to unite these elements into a pleasing composi- Motmots tion that would read well as a 3-dimensional sculpture. Bonded Marble 25.5 x 10 x 3.5 28 Society of Animal Artists ~ Art and the Animal E xhibition 2011

An Eastern garter snake (Thamnophis sirtalis crab (Callinectes sapidus), shoreline wolf spider Carel P. Brest van Kempen, SAA sirtalis) disturbs the glassy surface of an Atlan- (Pirata sp.), Dragonhunter (Hagenius brevi- Master Signature Member tic brackish swamp in an inadvisable advance stylus), mosquitoes (Culex sp.), Banded killifish Resides: Holladay, Utah toward a Common snapping turtle (Chelydra (Fundulus diaphanus) and Belted kingfisher b. 1958, Utah, USA serpentina). Incidental subjects include a Blue (Mecaceryle alcyon). An Atlantic Brackish Swamp Common Snapping Turtle Acrylic 20 x 15 29 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Dan Burgette, SAA Last summer I canoed two hundred miles in served were the terns diving into the water for fish. Resides: Tetonia, Idaho the Fond du Lac River drainage in northern Sas- “Splash” captures a good memory. b. 1947, Indiana, USA katchewan. One of the many natural displays ob-

Splash Least Tern Ironwood 18 x 16 x 11

30 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Note: this is new image ( in drop- box) Bob emailed - - not one on DVD

I made this sculpture in honor of my wife, Michelle, our three children. She always had them under her Dan Chen, SAA having reflected on how much she cared for and loved wing and endlessly poured out her energy for them. Resides: Eugene, Oregon b. 1963, China

A Mother’s Love Bluebirds Bronze 36 x 18 x 7

31 Society of Animal Artists ~ Art and the Animal E xhibition 2011

James coe, SAA My goal, in a painting like Reflections of April, the Northeast. And yet, this simple composition is Resides: Hannacroix, New York is to find imagery that is both universal and spe- entirely site-specific. It is based on a study, paint- b. 1957, New York, USA cific. The shimmer of a pond on a gray April morn- ed on-site, not far from my home—with one key ing; the weathered clumps of cattails; the raucous change: in designing this version from the study, I Reflections of April konk-a-ree of a Red-winged blackbird on terri- moved the bird off his perch and suspended him Red-winged Blackbird tory—those all are emblematic of Spring here in in mid-flight. Oil on Linen 16 x 22

32 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Winter to many of us is probably a nice walk out- Here is a herd of bison, in just such conditions, Guy Coheleach, SAA side in a fresh snow. Harsh white-out blizzard con- crossing such a storm. If they were waiting it out in Master Signature Member ditions with hardly any visibility at all is usually a huddle their rear ends would be in the face of the Resides: Hobe Sound, Florida only witnessed on movies or TV but seldom expe- gale’s wrath with their heads protected by each other b. 1933, New York, USA rienced. and those rear ends. Winter Whiteout Bison Oil on Belgian Linen 24 x 36

33 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Mary L. Cornish I am fascinated by what are considered the “not so My greatest challenge with the execution of “The Toll Resides: Warrenton, Virginia beautiful” birds, especially California condors. My Taker” was to convincingly paint the feather pattern b. 1950, Washington, USA goal is to create the intrinsic beauty within these without overworking the painting, and also to con- birds, and convey it to the viewer through my paint- vey the feeling to the viewer—“nice to look at, but The Toll Taker ing. I observed my first California condor in San Di- don’t get too close.” California Condor ego, California, and fell in love. Seeing the condor Oil on Panel up close was a life changing experience for me. 25 x 18

34 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I loved this scene when I came upon it. The wolf early evening and the stars were starting to make Anni M. Crouter, SAA seemed so serene, looking up into the sky. It was an appearance, making it easy to title this piece. Resides: Flint, Michigan b. 1963, Illinois, USA

Stargazer Mexican Wolf Acrylic 36 x 48

35 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Patricia M. Davis, SAA One evening I was asked by a stock broker if I could balance the two animals on a teeter-tot- Resides: Mancos, Colorado I would consider sculpting a bull and a bear. I ter that worked. I needed the geometric design b. 1952, Wisconsin, USA thought to myself...”EWWWWW...I want to to be strong, the engineering to be invisible, the make ART. animals to be realistic and at the same time work Wall Street Rodeo sculpturally, whether they were up, down, or Bull and Bear Sometime later (busy making what I consid- equally balanced. I also wanted it to work sculpt- Bronze and Granite ered “Art”), I had an inspiration. I wondered if ed any size. This is it! 13 x 16 x 6

36 Society of Animal Artists ~ Art and the Animal E xhibition 2011

“Mr. Tom-Tom...” started with a field trip to the San challenge in this piece was to paint the bird in a man- Andrew Denman, SAA Francisco Zoo where I spent a good deal of time ob- ner that conveyed his iconic presence with one part Resides: Antioch, California serving a haughty male turkey in full breeding plum- reverence and two parts humor. The wide, high con- b. 1978, California, USA age. Every tilt of his head, puff of his breast, and strut trast border, slightly off-square format, and dramatic of his intimidating frame seemed laced with a mix- lighting answer to the former concern, while the cocky Mr. Tom-Tom Remains ture of annoyance and disdain. Surely this proud bird pose and inclusion of the impudent title answer to the Unimpressed Wild Turkey could not be convinced that any creature was more latter. My hope is that the viewer feels the same way I Acrylic on Board stunning than he, including the nearby peacocks, re- felt encountering the turkey; impressed, amused, and 17 x 15.5 splendent in their breeding season attire as well. The thoroughly scrutinized. 37 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Kimberly Rae Diment, SAA The last time I visited the Ewaso Ng’iro River in entered the river there was a lot of drinking and Resides: Grayling, Michigan Samburu National Reserve was February 2008. playing, especially the youngsters. Elephants love b. 1962, Michigan, USA At the time it was brutally dry and much of the water and a crossing can be a momentous event. game was suffering. Elephants were getting water As I remember, it was momentous event for our Crossing the Ewaso Ng’iro River by excavating shallow holes in the old river basin. group as well! We wondered when the elephants African Elephants It was hard to believe it was the same river I had finally crossed, how would they continue? Would Acrylic camped on 3 years ago when we watched these they take a right and move up river away from 18 x 60 elephants make their river crossing. They came us or would they take a left and come barreling down the bank in a cloud of dust. As they first through our camp for some real close encounters. 38 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The endemic giant tortoises of Galapagos are the I spent many pleasurable hours watching birds Kelly Ann Dodge, SAA only native herbivores that move throughout the scratch around in droppings. Tortoises are a key- Resides: Lakefield, Ontario, Canada islands. By leaving their droppings behind they stone species of Galapagos. Without them island b. 1962, Ontario, Canada transport a great amount of semi-digested biomass biodiversity will suffer. In the fall of 2009 I was from the highlands to the lowlands. Their drop- privileged to study these species as the recipient of Particularly Poignant pings attract insects which become a food source the 10th Artists for Conservation Flag Expedition Galapagos Giant Tortoise Droppings and Yellow Warbler for warblers, finches, mockingbirds and lizards. Fellowship. Pastel on Museum Paper 12 x 22 39 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Mick Doellinger, SAA To portray the personality of an animal, a moment “Looking Good,” is a face only a mother could love. Resides: Fort Worth, Texas frozen in time, is something I’ve been working on I wanted to portray this warthog with a cocky at- b. 1956, Germany for more than thirty years. My goal is to have my titude, completely unaware of how he really looks. sculptures give audiences a glimpse into the behav- Lookin Good ior or character of each animal. Warthog Bronze 10 x 8 x 8

40 Society of Animal Artists ~ Art and the Animal E xhibition 2011

In 1993, the taxonomy of the dog was changed from interaction was a key factor in shaping the evolution Lori Anne Dunn Canis familiaris to Canis lupus familiaris, a subspecies of the domestic dog. Resides: Norwood, of the Gray wolf. Evidence from behavior, morphology Ontario, Canada and molecular biology indicated that the Gray wolf is One thing is certain—when I look at my two golden b. 1967, Ontario, Canada the common ancestor for all breeds of domestic dogs. retrievers I am so glad we found that relationship with the wolf that developed into the most beautiful friend- Canine Ancestry Gray Wolf Skull The method in which this process occurred is a source ship of all time. Scratchboard of controversy, but most scientists agree that human 8 x 10 41 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Lisa Egeli Big Cypress Preserve in Florida’s Everglades offers quietly let a lush, primordial world filled with an- Resides: Churchton, Maryland a wonderful opportunity to step back in time and cient flora and fauna envelope you. b. 1966, Maryland, USA

The Life Exotic American Alligator and American White Ibis Oil on Linen on Birch 16 x 20 42 Society of Animal Artists ~ Art and the Animal E xhibition 2011

There are so many reasons why I love to paint taw- their beaks and emphasize their great golden eyes. Lyn Ellison ny frogmouths. They seem to have a demeanor that We have a pair that live on our property and every Resides: Maudsland, is both comical and vulnerable when you catch sight time I stumble across our “friends” I feel inspired Queensland, Australia of them perched on a branch pretending to be invis- to paint them to try and reveal something of their b. 1943, Australia ible. They have the most wonderfully textured and character and beauty. patterned plumage fluffed up around their smallish We’re Just Part of the Branch bodies and extraordinary feathers stand out above You Know Tawny Frogmouths Oil, 22 x 18 43 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Beth Parcell Evans, SAA Inspiration for my art comes from my daily life of hunting the hounds. For instance, this hunts- Resides: Hopewell, New Jersey and surroundings. I am fortunate to have con- man always departs for the first covert at speed, b. 1958, New Jersey, USA stant access to my favorite subject matter, the fanning the flames of eagerness in his hounds. horse. My paintings chronicle my life and the Spirited Departure beautiful scenes I experience every day. Fresh at the beginning of the hunt, they bound Horse and Old English Foxhound and leap at his side with joy. Oil This particular foxhunt meets about a mile from 20 x 30 my home. Every huntsman has a unique style

44 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Most North American flycatchers are rather drab. The browns and tans for the background, thereby increas- Anne S. Faust, SAA vermilion flycatcher is an exception. His bright red ing the bird’s visibility. I felt the various lichens on Resides: Baton Rouge, Louisiana and black plumage make him stand out like a beacon the tree branches in the foreground added additional b. 1936, Connecticut, USA in his environment--the dry scrub of the southwest. visual interest to the composition and enhanced the To achieve the effect of this dry country I used neutral bird’s surroundings. November Vermillion Flycatcher Serigraph 12 x 16

45 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Cynthie Fisher, SAA After 15 trips to Africa, I guess you could say I’m was inspired to create a scene I often witnessed, a Resides: Hamilton, Montana pretty smitten with the richness and diversity of glimpse in the bush of the shy bushbuck. It was b. 1964, Iowa, USA the African landscape and wildlife. Normally I important to instill the sense of stillness, the hot concentrate on a more intimate portrait of one dusty filtered sun, and show how integrated these Two In The Bush-Bushbuck of my many favorite species, but after spending a animals are in their environment. Limpopo Bushbuck and lot of time walking through the mopane and aca- White-browed Sparrow Weavers cia bushland in Zimbabwe and South Africa, I Acrylic 17 x 23.5 46 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Mongol horses, which Chinggis Khan and his horde own. They have incredible stamina. Races for 2 year Susan Fox, SAA rode when they conquered the world’s largest land olds are around 7 miles in length, for 5 to 6 year olds, Resides: Dow’s Prairie, California empire, are, to this day, extremely important to up to 30 miles. Some can travel 140 miles in a day. b. 1953, California, USA Mongol culture. These tough 14-hand horses survive So, an “evening run” for these horses at Ikh Nartiin -40F winters and 100F summers, grazing on their Chuluu was just good fun. Mongol Horse #5 - Evening Run Domestic Mongol Horses Oil 24 x 36

47 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Kathleen M. Friedenberg, SAA “National recognition of the Masters of Fox- Compositional considerations suggested this Resides: Ardmore, Pennsylvania hounds of America, in 2006 indicated that, sculpture, but gradually the close working re- b. 1942, London, England though I’m no hunter, a hunting piece was lationship, and affection, between the hunts- overdue. man, his horse and the hounds, became the Opening Meet dominant focus. Domestic Horse, Foxhounds and Man Bronze 17.5 x 11 x 16 48 Society of Animal Artists ~ Art and the Animal E xhibition 2011

These two horses were the lead pair of a 4-in-hand ing the many textures of leather and metal on a Anita P. Gersch team competing at an international carriage driv- harness that contrast so vividly with the continu- Resides: Waxhaw, North Carolina ing show. I had no idea when I started this paint- ously changing play of reflected light on a horse’s b. 1950, New Jersey, USA ing that portraying the two well-matched horses as coat. The bright sunlight of that day made captur- individuals, despite their close proximity to each ing the elusive and fleeting image of these elegant The Lead Pair other, would prove to be such a task. Many of my equine athletes my toughest challenge yet. Horse Oil Pastel works are of driving horses and I must admit that 19 x 25 part of that attraction is the challenge of depict-

49 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Jim Gilmore This piece was inspired by the many days I have spent This cowboy finds himself in a bad situation, a buck- Resides: Alamosa, Colorado packing into the Colorado high country with horses ing horse on a narrow trail. After he gets the horse b. 1950, Colorado, USA and mules. It never seems to fail that sometime dur- settled down and everything is back to normal what ing a pack trip a wreck will take place involving a will probably upset the cowboy most is that the mule A Wreck in the Making young or inexperienced horse or mule. stepped on his favorite hat. Horse, Cowboy and Mule Bronze 34 x 30 x 10

50 Society of Animal Artists ~ Art and the Animal E xhibition 2011

This painting was inspired by a recent trip to Yellow- very fast up a steep incline. As I painted this bear, Pat E. Gilmore stone National Park. While traveling through mead- I wanted to capture the movement of the subject as Resides: Vista, California ows and passes at high elevations, my wife and I spot- well as the vast landscape that surrounded it. I feel b. 1962, Illinois, USA ted a black bear making its way up the mountain. very privileged to have seen such a moment. This bear was only in view for a few moments before Climbing Dunraven Pass heading into the forest. Amazingly, it was traveling Black Bear Acrylic 12 x 16

51 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Daniel B. Glanz, SAA As always in nature there are animals that simply be sculpted. The shoebill is an assemblage of sizes, Resides: Masonville, Colorado make you stop and say, “Wow, where did that come shapes and attitude that borders on prehistoric and b. 1956, Michigan, USA from?” Like the hyena, hammerkop, and many will always make people wonder. others, the shoebill stands out as one of those “oddi- Shoebill ties” that really sparked my curiosity and begged to Shoebill Stork Bronze 21.5 x 7 x 11

52 Society of Animal Artists ~ Art and the Animal E xhibition 2011

As a frequent visitor to East Africa I am always zebras frantically trying to get out of the water, Sue Gombus fascinated by the survival instincts of the Savan- perhaps because of a faint sound, or the slightest Resides: Merrillville, Indiana nahs’ prey animals, particularly zebras. While the of movements, I knew I would have to paint their b. 1951, Illinois, USA patterns of the zebras’ stripes aid in confusing would story. These zebras’ alertness to nearby danger was be predators, I find their abstract qualities a joy to both artistically and awe inspiring. Splash paint. When I came upon this group of Burchell’s Burchell’s Zebras Pastel 13 x 39

53 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Shawn K. Gould, SAA I found this little jewel floating in a swimming beautiful streaks of green running down the sturdy Resides: Eureka, California pool, lured to its end by a submerged light the wings. Now, some ten years later, it has made a b. 1974, Iowa, USA night before. I was immediately attracted to the wonderful specimen for a painting. bold color pattern on the head and thorax, and the Cicada Acrylic 36 x 24

54 Society of Animal Artists ~ Art and the Animal E xhibition 2011

“Tuned In” follows the name given to this Bat- I have positioned my fox at a time around dusk, Peter Clinton Gray, SAA eared fox. The enormous ears of this little animal when these little predators come out from their Resides: Cape Town, Western Cape, act in three distinct ways to enable it to be per- underground dens to relax before moving off to South Africa fectly “tuned in” to its environment and hunting hunt as darkness takes over. b. 1950, Zimbabwe, South Africa speciality. They act as a cooling system, a means of communication and in the detecting of its prey. Tuned In Bat-eared Fox Oil on Canvas 25 x 35.5 55 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Grant Hacking, SAA During the great migration, animals will gather My focal point in the painting is the zebra looking Resides: North Conway, on the rivers’ edge and in the water until at last, back. To draw the viewer’s eye to her, I used much New Hampshire they start the inevitable drama of crossing to the far sharper definition in the brush work and more b. 1964, Johannesburg, banks. They will struggle and many will drown as intensity in the colors than I did in the rest of the South Africa they negotiate the currents, mud and crushing jaws herd. of the hungry crocs. No Looking Back Zebra Oil, 12 x 20 56 Society of Animal Artists ~ Art and the Animal E xhibition 2011

After several expeditions to the breath. Loggerheads can dilly dally a Guy Charles McNeil Harvey, Ph.D., SAA Bahamas to observe tiger sharks in bit long and the tiger shark will then Resides: Grand Cayman, Cayman Islands close proximity, I learned a lot about shoot up to grab the turtle as it takes b. 1955, Lippspringe, Germany their preferred food items and feed- that much needed breath. Often the ing behavior. Turtles are among their turtle will see the shark coming and Fair Game most favorite prey and the sharks will will spin out of the way at the last sec- Tiger Shark and Loggerhead Turtle Acrylic on Canvas stalk them from below and wait for ond causing the shark to miss, but the 36 x 72 them to approach the surface for a turtle is still…fair game.

57 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Janet N. Heaton, SAA SandhiII cranes are the world’s most common the youngsters watching to learn to find food on Resides: West Palm Beach, Florida crane and are found in many parts of Florida. land and in the water and always staying alert for b. 1936, Florida, USA Their habitat is mostly freshwater wetlands which safety purposes. are prevalent in this State. The crane has a beauti- The Arrival ful appearance, raucous call and graceful mating The population of the Sandhill crane seems to be Sandhill Crane dance. During the spring, we are always on the on the increase in this area and we are now seeing Pastel look out for the new arrivals of “chick-colored” ba- them year round. 29 x 20 bies, usually two. Seeing the little ones is always a treat as the parents are in the teaching mode with 58 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I have wanted for over a decade to paint a bobcat, tion of rock ledges for the painting, I discovered this Nancy Howe, SAA but it wasn’t until I had the experience of seeing one stunning design, sunlit with lush greening mosses. Resides: East Dorset, Vermont in our backyard, not once, but twice, exactly a year I had to find the restraint to paint this handsome b. 1950, New Jersey, USA apart, that the circumstances became favorable to do animal in the shadows, but doing so better repre- this. Crawling around a recently acquired Nature sented its secretive nature and ability to disappear Of a Secret Nature Bobcat Conservancy preserve in Vermont that is a denning into the landscape. Oil on Belgian Linen site for bobcat, looking for just the right configura- 30 x 21

59 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Leslie Jane Hutto I will never forget the first time I had ever seen a nity as he expressed to the hens, that he was the most Resides: Aiken, South Carolina turkey in full strut, it was at the crack of dawn, at magnificent creature in all creation. In this piece, I b. 1958, New York, USA the edge of the woods. The early morning, and the have tried to recreate the beauty of that fall morning quiet majesty of nature, truly left me awestruck. A long ago. I’m Too Sexy normally benign bird was captured in all his dig- Turkey Bronze 22 x 10 x 14

60 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The secret of art is to walk a line between reality achieve this, I exaggerated negative space to ground Wes Hyde and imagination, then fuse these elements to create the green heron in its environment while stripping Resides: Arvada, Colorado a dynamic between the concrete and abstract na- away camouflage to allow the viewer to not only see b. 1967, California, USA ture of things. The concept of Poise is to find equi- the birds beauty, but also to spark imagination and librium in three things: the bird and his environ- continue the painting in the viewer’s mind. Thus, I Poise Green Heron ment, the reality and vacuity of the world, and the have created a symbiosis between artist and viewer. Oil relationship between artist and art aficionado. To 12 x 40

61 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Clint Jammer Last Christmas, I travelled to the Osa Peninsula in The most unforgettable experience of the trip was a day Resides: Blackstock, Costa Rica. Declared one of the most “biologically in- spent whale watching. I was blessed to come upon a Ontario, Canada tense places on earth” by National Geographic maga- pod of four humpback whales—one female and three b. 1962, Ontario, Canada zine, the Osa Peninsula is a secluded tropical rainfor- males. It was magical to watch the courtship as they est wonderland featuring many rare and endangered swam and played together. I also learned that photo- Tails of Wonder species. graphing whales on the open seas is not for the faint of Humpback Whales heart. Acrylic 20.5 x 48 62 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The Southwest Victorian coast is an incredibly rich to the largest Gannet colony in Australia, one of Brett Malcolm Jarrett area for marine birds and mammals. Growing up three gannet species worldwide. Resides: Portland, Victoria, in the heart of such diversity I was, as today, a Australia very keen beachcomber always on the lookout for With their beautiful ochre colored heads, vivid b. 1965, Victoria, Australia rare and elusive seabirds that could be examined white bodies, elegant shape and large, piercing in hand. eyes designed to detect fish deep in turbulent wa- Pecking Order ters; “Pecking Order” is reflective of their vocal, Australasian Gannets Lawrence Rocks is the eroded half rim of a vol- energetic and social interactions, all enhanced by Oil on Canvas cano; it lies a couple of miles offshore and is home backlighting. 21.5 x 18 63 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Brian Keith Jarvi, SAA In the painting “Buffalo Spa,” I’ve revisited one one of its favorite pastimes, a cool wallow. For me, Resides: Cohasset, Minnesota of my favorite subjects, the African Cape buffalo. the painting was an exercise in technique, focusing b. 1956, Minnesota, USA I’m a great admirer of the species, particularly for mainly on edge and texture. Though I was person- its fierce nature, and unrelenting courage; traits ally pleased with the results, as usual, the level of Buffalo Spa I’ve often tried to convey in past works. But in this success achieved is determined by the viewer… not Cape Buffalo more recent piece, an old bull is portrayed enjoying the artist. Oil 10 x 20

64 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I normally paint lush tropical bird paintings but Water formed a unifying element in the painting Stephen A. Jesic over the last few years I have started to paint reinforcing the bond between female and calf as well Resides: Gold Coast, African animals. I designed “The Matriarch” as a as providing an interplay of cool and warm con- Queensland, Australia solitary intimate scene between the female leader of trasts. The textures on the elephant’s skins, the dry b. 1951, Albury, Australia the herd watching over and protecting a calf before hot dusty habitat and the repetition of the wet sky the arrival of the rest of the family group. reflections on the adult were all a sheer joy to paint. The Matriarch African Elephant and Calf Acrylic on Board 48 x 36 65 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Brenda D. Johnson The Hawksbill turtle, Eretmochely imbricata, is Hawksbills can be found in coastal waters within Resides: Crestline, California aptly named for its hawk-like bill. It is so strikingly tropical and some subtropical seas. The largest popu- b. 1951, Texas, USA beautiful it has been hunted for centuries for its richly lations live in the Caribbean Sea but can be found in colored patterned scutes that cover its shell. The shell the waters of at least 82 nations, nesting in at least Caribbean Cruiser value is reported at an estimated $30,000. Thank- 60 of those countries. I have recreated a typical Gulf Hawksbill Turtle fully, trade in tortoiseshell is banned by international Coast underwater habitat in this painting including Acrylic on Board treaty, significantly slowing its marketability. one very handsome subject difficult to resist. 14 x 18

66 Society of Animal Artists ~ Art and the Animal E xhibition 2011

While growing up in southern New Mexico, one females. The word “parthenogenesis” comes from Steve Kestrel, SAA of my favorite reptiles was the whiptail lizard. I the Greek parthenos, meaning “virgin,” and Resides: Loveland, Colorado didn’t know it at the time, but this species lays via- genesis, meaning “birth.” b. 1947, Texas, USA ble eggs (with no help from the male—they’re very rare) and it so happens that all the eggs hatch as Parthenogenesis Whiptail Lizard with Eggs Bronze 7 x 19 x 10

67 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Brenda Will Kidera While visiting friends in Florida, they suggested ing the heron within the complex tangle of pickerel Resides: Woodbine, Maryland visiting the Wakodahatchee Wetlands in Delray weed was a challenge. The reflections, which origi- b. 1959, Maryland, USA Beach, a sanctuary ecosystem built by the Water nate throughout the painting, added to the confu- Utilities Department. I was delighted with the in- sion. It was a balancing act of values and position- Little Green Heron credible diversity of wildlife there. This shy green ing. Much was added and deleted along the way Oil on Panel heron sat for a long time, motionless. The composi- to make the composition a success. 20 x 16 tion has an abstract quality to it that I like. Defin-

68 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I have always wanted to see a flamingo in the wild, but never James R. Kiesow, SAA have, so I had to use a resident of the San Diego Zoo for a Resides: Port Washington, model. Wisconsin b. 1947, Wisconsin, USA

Preening Flamingo Acrylic 24 x 18

69 Society of Animal Artists ~ Art and the Animal E xhibition 2011

John K. Kobald, SAA The open ocean is one of the best venues for ob- menu. The scene is fast and furious. Flying through Resides: Meeker, Colorado serving the unpredictable predator and prey rela- the waves can be a beautiful escape….sometimes. b. 1967, Illinois, USA tionship. Flying fish are at the top of the Dorado’s

El Dorado Dorado or Mahi Mahi (Dolphin Fish) Bronze 12 x 24 x 9.5 70 Society of Animal Artists ~ Art and the Animal E xhibition 2011

After a careful search of the skies, bushes and trees, Chukars raise at least two families each summer Laney, SAA the Chukar hen comes down to water. While the and sometimes more if weather or predators de- Resides: Crowheart, Wyoming young drink under the guidance of male adult, the stroy the nest. During the summer the adults pair b. 1942, Colorado, USA hen takes a lookout position to watch over the whole off and locate a territory which they occupy during area to warn of any threat. the season. In the fall several families come together Down to Water and stay together to forage during the winter. Chukar Oil 25 x 40

71 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Brent A. Langley, SAA “Arctic Twilight” refers not only to the scene like the small and adaptable parasitic jaeger, and Resides: Coal Valley, Illinios depicted, sun low on the horizon at that dream- losers, non-adaptable megafauna like the polar b. 1947, Kansas, USA like time between day and night, but also to the bear that have always failed to make it through arctic ecosystem which is in the twilight of its exis- previous extinction events. Arctic Twilight tence. With climate change there will be winners, Parasitic Jaeger and Polar Bear Skull Oil 18 x 24

72 Society of Animal Artists ~ Art and the Animal E xhibition 2011

This old wooden bowl sits in my studio filled The antlers and feathers are from memorable Rod Lawrence, SAA with these personal items. Each one has a story, hunts with good friends. The bird nest was Resides: Kalkaska, Michigan including the porcelain topped cart that was right outside my studio. There is no bird and b. 1951, Michigan, USA built for me by my father. I cut and hand sewed there is no hand, just the “nest” of each of them, the elk skin cuffs on the gloves. The beaver pelt in a bowl of special memories. A Bird in the Hand is from the stream that flows below my studio. Pheasant/Turkey Feathers, Bird Nest, White-tailed Deer Antlers, and Beaver Pelt Acrylic on Panel 12 x 20 73 Society of Animal Artists ~ Art and the Animal E xhibition 2011

T. J. Lick, SAA Back-lit and patrolling the alter of this dry on the move. Often times overlooked and sunken Resides: Boyne Falls, Michigan savannah, this pair exhibit the golden crowns in the grass, these mates will entice closer inspec- b. 1969, Michigan, USA of nobility. Designedly with long legs and necks, tion and induce fascination. The throne room pro- accessorized with color and grace, these primitive vides the perfect habitat and soulful sustenance for Inside the Throne Room birds with unwavering purpose seem continually a multitude of species great and small. African Crowned Cranes Acrylic 13 x 23

74 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Everyone’s heard of “the wise old owl,” but in this it is the journal itself that contains items of great Diane D. Mason, SAA instance the viewer must determine whether “The wisdom. This sculpture was inspired, in part, by a Resides: Berthoud, Colorado Wisdom Keeper” is truly the little screech owl friend and fellow sculptor who has kept a screech b. 1951, Illinois, USA perched protectively on the stack of books. Perhaps owl as a pet for more than ten years. I’ve imagined it is the individual who has been writing in the what it would be like to have such a charming crea- The Wisdom Keeper journal with the quill pen and inkwell, or perhaps ture as a companion in my own home or studio. Screech Owl Bronze 10 x 13 x 8

75 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Walter T. Matia, SAA I have indulged myself in the exploration of the tra- The Sandhill Crane Andirons are part of a series Master Signature Member ditional marriage of art to function. The wonderful of works including custom designed fire screens, Resides: Dickerson, Maryland Samuel Yellin and Paul Manship gates, Manzus’ sconces and railing fixtures. b. 1953, Ohio, USA doors and Diego Giacometti furniture have in- spired many of these efforts. Sandhill Crane Andirons Bronze 28 x 6 x 5

76 Society of Animal Artists ~ Art and the Animal E xhibition 2011

There is a saying in Texas, “If you want to run with in the unusual medium of colored scratchboard, in Sally Maxwell the big dogs, you have to get off of the porch.” This se- an unusual manner as a cradled triptych. He is my Resides: La Grange, Texas ries was inspired by that and by knowing the ferocity personal attempt to step off of the porch and “run b. 1946, Illinois, USA of the smallest breed of dog, the Chihuahua. Here with” the other respected members of the SAA. he is much larger than life, Texas style, presented Big Dog #1 Chihuahua Colored Scratchboard 24 x 56

77 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Jan Martin McGuire, SAA I loved the idea of the rhythm and patterns in this “poetic.” Then I remembered the water drips from Resides: Bartlesville, Oklahoma painting. The repetition of shapes in the curving the swans beak after she just dipped in the water b. 1955, Colorado, USA vegetation and the curving shapes of the swan’s and thus the title was born. back really excited me. I had a bit of a hard time Drips of Water coming up with a title—I like something sort of Trumpeter Swan Acrylic on Canvas 8 x 10

78 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The landscape portion of the painting was bachelor groups enjoying each others company Gregory I. McHuron, SAA painted plein-air after an initial snowfall. As prior to mating season. During mating sea- Resides: Jackson, Wyoming I was painting, several deer passed by which son, their attitude abruptly changes—”Soon b. 1945, New York, USA gave me the inspiration to include them. to Compete.” Mule deer bucks generally stay together in Soon to Compete Mule Deer Bucks Oil 18 x 30

79 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Darin T. Miller, SAA Known by many as the unofficial state bird of cowbird to expand into Michigan, laying eggs in the Resides: Fremont, Ohio Michigan, Kirtland’s warbler was very close to nests of the unsuspecting birds. Prevention of forest b. 1981, Ohio, USA extinction in the 1970s. It was one of the first to fires also reduced its nesting habitat of young jack be listed endangered after passage of the -Endan pine stands. Through careful and ongoing - man Back from the Brink of Extinction gered Species Act of 1973. Man’s alteration of the agement of its limited nesting habitat, populations Kirtland’s Warbler landscape to farmland allowed the brown-headed have increased to less perilous numbers. Oil 16 x 7

80 Society of Animal Artists ~ Art and the Animal E xhibition 2011

A morning spent at the local county fair watching the power and pent up energy of the drafts as they strain Terry Miller, SAA horse pulling contest, left me with a great deal of refer- against the counteracting pull of the team master just Resides: Takoma Park, Maryland ence material and substantial inspiration for this work before they are hitched to the drag weight sled. b. 1945, Iowa, USA and several others. In this work, I wanted to portray the Up For the Challenge Draft Horses Graphite 8 x 19

81 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Billy-Jack Milligan While exploring a lake in a remote area of the Cy- a common bird in Florida soaking up the setting Resides: Canfield, Ontario, Canada press swamps I sat to admire the wildlife that sur- sun gave that feeling of the sheer beauty Florida has b. 1970, Ontario, Canada rounded me. Being my first trip to tropical Florida, to offer. This piece also gave me the opportunity to everything was fresh and exciting. When returning magnify and show off the beauty of complimentary Cypress Skies home I knew I wanted to capture the feeling I ex- colors. Cattle Egrets perienced on that trip. I felt depicting cattle egrets, Acrylic 32 x 48

82 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I watched a small group of Common eider through ress of the Eider struck me immediately, and being Sean R. Murtha my scope one windy day at Hammonassett State unable to sketch or photograph under the circum- Resides: Norwalk, Connecticut Park, CT, as they disappeared and re-emerged from stances, I absorbed everything I could and produced b. 1968, New York, USA wave and spray. The combination of rough seas, a rapid color study as soon as I was back home. brilliant afternoon light, and the determined prog- From this the full-size painting developed. Sun and Spray Common Eider Oil 20 x 30

83 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Ken Newman, SAA The value of a completed sculpture lies in what doors long decurved bill and legs. The posture is possible, Resides: Cambridge, Idaho it opens. Inspired by a previous sculpture an inti- but not one I observed. This design allowed me to b. 1956, California, USA mate view of a curlew became the vision. To create a push and pull the anatomy and plumage in wonder- posture using abstract forms of triangles and planes ful articulations that work in unison to pull the eye Composed to balance and move the eye while confining the bird in closer and closer - intimacy with the curlew. Long-billed Curlew to its smallest footprint, yet exposing its large wings, Bronze 20 x 18 x 11

84 Society of Animal Artists ~ Art and the Animal E xhibition 2011

A horse can be very playful and it is not unusual the water rather than drinking it. Many times Marilyn Newmark, SAA for them to get into mischief. If a water pail is my favorite mare has done just this and I had Resides: New York, New York left on the ground they will delight in spilling her in mind when I made this piece. b. 1928, New York, USA

Oops Mare Bronze 10 x 14 x 5

85 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Alison Nicholls, SAA Namibia’s Cape Fur Seal colonies survive in a land pleasing shapes, expressive faces and ability to sleep Resides: Port Chester, New York of extremes—flanked on one side by the cold break- anywhere make them great sketching subjects, but I b. 1967, Yemen ers of the Atlantic Ocean and on the other by the also wanted to emphasize the thick whiskers, small hot sands of the Namib Desert. The seals, not in- ears and rounded body of the seal, perfectly match- Chillin’ timidated by their harsh surroundings, carry on ing the texture of the rock on which she soundly Cape Fur Seal the chaotic, noisy, crowded life of the colony. Their sleeps. Watercolor 20 x 16

86 Society of Animal Artists ~ Art and the Animal E xhibition 2011

As primarily a bird artist, I’m constantly in near my home. It stared intently into the shal- James M. Offeman, SAA search of my next feathered subject to paint. low water, unmoving and seemingly oblivious to Resides: Missouri City, Texas Typically, I spend days at a time in the field, the cars speeding along only a few feet away. I b. 1953, Texas, USA sketching and photographing birds. Often I for- doubt if any of the drivers noticed the bird, but get that many of the birds can be found closer I’m glad that I noticed. Great Egret Pastels to home. In this case, I saw a Great egret hunt- 13.5 x 9.5 ing in a shallow ditch on the side of a busy road

87 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Munenori Okada Capricornis crispus was drawn in the artwork I had planned this work for five years, and com- Resides: Setagaya-ku, Tokyo, Japan “Find.” It is cow’s companion and horned. And it pleted this year. b. 1971, Japan is a natural monument of Japan. Please see the light of the sun and the Capricornis Find It is my favorite animal. So I drew one artwork of crispus met by chance in the forest. Capricornis Crispus Capricornis crispus in a year. Acrylic 13 x 10

88 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Eye to eye You fly Leo E. Osborne, SAA You follow me Aware of every passerby Master Signature Member Wise one I love your presence Resides: Guemes Island, Washington Marked like I love your grace b. 1947, Massachusetts, USA Snow and tree Guardian messenger Quiet as winter snow From another space The Mystic Snowy Owl Gold Leaf and Acrylic 24 x 48 89 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Leon Parson, SAA The wood duck is, perhaps, one of the most beauti- saturation, and focused edges on the birds and Resides: Rexburg, Idaho ful ducks in the world, with their triple comple- branches while at the same time painting the sky b. 1951, Utah, USA mentary color scheme of Red/Green, Blue/Or- and trees with little value contrast, quite neutral ange, and Yellow/Purple. The environment for saturation, and soft edges; making it, in concept, a Woodies In The Sycamores “Woodies in the Sycamores” is an overcast, misty three-level, triple complementary painting. North American Wood Ducks day; being opposite, of the birds themselves. It was Oil on Linen a challenge to use full value contrast, strong color 24 x 20

90 Society of Animal Artists ~ Art and the Animal E xhibition 2011

This is one of a series of paintings that features I concentrated on the small shadow under the Rick Pas, SAA the feather patterns of the Ring-neck pheasant. slightly raised wing and the iridescent shimmer. Resides: Lapeer, Michigan b. 1958, Michigan, USA

Ring-neck III Ring-neck Pheasant Acrylic 24 x 36

91 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Cristina G. Penescu, SAA When creating “Within Reach” I aimed to of- around an animal’s toes. With this piece, I hope Resides: Sherman Oaks, California fer the viewer a unique perspective on a familiar to show the viewer that a portrait of an animal b. 1988, Bucharest, Romania subject. I believe that nature’s beauty lies in it’s does not need to feature it’s face to be powerful tiny details that are often overlooked, such as the and thought-provoking. Within Reach texture of worn paw pads or the way fur curves Wolf-dog Scratchboard 7 x 12

92 Society of Animal Artists ~ Art and the Animal E xhibition 2011

As I write these lines I am hearing spring peepers backyard amphibian friendly. After a long, cold Patricia Pepin, SAA peeping, and toads trilling, and my little frog pond winter, nothings is more comforting than the sight Resides: Bromont, Quebec, Canada is teeming with tadpoles, the results of making my and sounds of these shiny little nuggets of life. b. 1964, Quebec, Canada

La Vie en Vert Green Frog Oil on Board 6 x 8

93 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Louise Peterson, SAA As a long time Great Dane owner, I see in these This piece is intended to convey the “oh so good” Resides: Guffey, Colorado dogs a combination of playful goofiness and regal feeling of scratching that itch. b. 1962, Darlington, England elegance. As a sculptor I see also a magnificent com- bination of long bones, muscled limbs, folds of skin, Tickled and dynamic movement. Great Dane Bronze 14 x 11 x 10

94 Society of Animal Artists ~ Art and the Animal E xhibition 2011

We can watch from our sofa as people slaughter any under the ice or hear that the last bear no longer David Petlowany number of the planet’s creatures. Only a few stands. The limestone grew from the sea; shame if Resides: North Olmsted, Ohio humans actually see the great white bears starve, that is all that remains. b. 1949, Ohio, USA as the polar cap melts. I do not care to see what is Last One Standing Ursus Limestone 15 x 10 x 8

95 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Bryce L. Pettit It is a joy to watch the ease with which swallows fly one day while watching them skim the water and Resides: Monticello, Utah and maneuver; throw in their proclivity for water flit close to each other made me realize that the best b. 1974, Utah, USA and as a lover of water myself, I have quite the way was to pare down the sculpture to just the birds affection for the little birds. resting on feather tips alone. Their own graceful To and Fro lines would express all that I wanted to share about Barn Swallows For years I have wanted to create a sculpture fea- them. Bronze turing swallows, but struggled with how. Finally, 9 x 14 x 7

96 Society of Animal Artists ~ Art and the Animal E xhibition 2011

It is with a sense of growing concern and frustration great creatures are a source of spiritual and cultural John R. Potter over the years that I have watched the state of Mon- strength. As Americans, these magnificent animals Resides: Roscoe, Montana tana carry out its senseless and brutal persecution of belong to all of us, and what’s happening to them is b. 1957, Wisconsin, USA Yellowstone’s buffalo, simply because of the mere pos- yet another American tragedy. I painted this lone buf- sibility that they might transfer a disease called bru- falo in Hayden Valley to symbolize their struggle to Guiding Light cellosis to Montana’s cattle. As a Native man, these survive against man’s inhumanity. Bull Buffalo Oil 11 x 14

97 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Arlene A. Rheinish This technical piece of a white ibis was a challenging natural surroundings providing a dark, yet colorful Resides: Trabuco Canyon, painting. On a trip to Florida, I had the opportu- background. The foreground with its dramatic effect California nity to do some serious bird watching. While taking of shadows and lights draping over the bird plays b. 1962, California, USA a break a white ibis landed close by. I noticed how out the effect. The eye of the bird is clearly focused the shadows and direct, reflective and filtered light on the viewer providing a sense of awareness and Beneath the Shadows played in juxtaposition over the body of the bird. In giving the viewer the feeling of being as close to the White Ibis this painting, I wanted to display the ibis with its bird as I was. Oil 16 x 12 98 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The ancients worshipped the scarab; the sun make a great combo. The metaphor of turning Paul D. Rhymer, SAA god Ra rolling the sun across the sky. Although waste into treasure is a great way to keep things Resides: Point of Rocks, Maryland I might not worship them, I do find all beetles in perspective. b. 1962, Washington DC, USA fascinating. The round shapes of beetle and ball One Man’s Trash... Egyptian Scarab Bronze 25 x 36 x 25

99 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Rosetta, SAA This is the maquette for a one-and-a-half life-sized ening characteristics of concentration, flexibility, Resides: Loveland, Colorado version commissioned by the Nebraska Percent for strength, grace, dignity and beauty. All are charac- b. 1945, Virginia, USA Art program for placement at Peru State College. teristics that make the bobcat an ideal mascot for the Based on a photo I took at Animals of Montana, the college. Bobcat Maquette pose was perfect to represent the PSC Bobcat mascot Bronze on campus. It projects the strong though non-threat- 16.5 x 12 x 5

100 Society of Animal Artists ~ Art and the Animal E xhibition 2011

“Hatchling” represents the miraculous birthings of these Joan Binney Ross, SAA fragile turtles. They are able to crack out of their shells, claw Resides: Vero Beach, Florida up through the sand that covers their nests and then make b. 1937, Lausanne, Switzerland the perilous scramble over the beach to the surf. Hatchling I particularly enjoy the interplay between the smooth surface Loggerhead Turtle Serpentine of the egg, the textured skin of the turtle and the segmented 12 x 7 x 7 shell. The serpentine stone with its ancient origins seemed an appropriate medium for this newborn. 101 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Linda Rossin, SAA Living on the eastern shore of the largest fresh- houette against a brightly lit background. This Resides: Lake Hopatcong, water lake in New Jersey affords me the oppor- allowed me to then showcase all of the interest- New Jersey tunity to study the ever-changing mood of the ing interlocking elements, including one of our b. 1946, Ohio, USA evening sky as well as the comings and goings occasional visitors, the belted kingfisher. of migratory and resident wildlife. In this min- Lakeside Silhouettes iature painting I wanted to share the attractive Belted Kingfisher graphics of our lakeside arbor by placing it in sil- Acrylic 3.5 x 4.5 102 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Magnificent pronghorn grace the open highlands run an endless marathon. The pronghorn’s pace is Kenneth R. Rowe, SAA of Arizona—my home. Autumn winds find domi- second only to their brethren of speed, the cheetah, as Resides: Sedona, Arizona nant males, prompted by the rut, chasing rival bucks the fastest land animal on earth. b. 1954, Arizona, USA from their harem of does. In a blur of exotic mark- ings, their endurance is inspiring as they seemingly I can only hope my sculpture has done them justice. Express Male Pronghorn Antelope Bronze 19.5 x 21 x 11

103 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Edward Royal, SAA I just wanted to show that you can say what you want in pencil as well as Resides: West Palm Beach, Florida paint. The textures of the pine stick and the owl so simple, speak in that b. 1962, Florida, USA the owl has fallen from its nest, and it’s up to you the viewer to determine what happens next. Lil Owl Pencil I am truly inspired by all the textures in nature. Nature is the greatest 21.5 x 20 artist, and I want to copy it as best I can, and convey the feeling I get from it.

104 Society of Animal Artists ~ Art and the Animal E xhibition 2011

This wild hog sculpture is all about the incredible where they can find food. Pure-blood Russian hogs Jon Ruehle, SAA mouth and tusks, and the rest of the design fol- released for sport seemed content to adapt to my Resides: Hot Springs, Arkansas lows from that. I prefer to focus on expression and garden, doing major damage. I spent a lot of time b. 1949, California, USA habitat in my work. Here the two combine to show trying to outwit them with no success. The only op- the disposition I came to respect in my interactions tion left was to sculpt one. Prickly Pair with hogs. Hogs adapt to almost any environment Wild Boar Bronze 8 x 9 x 14

105 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Bart Coleman Rulon, SAA This was a stretch of the Kentucky River that of these rocky palisades. We always saw birds Resides: Greenbank, Washington my father always loved because of the beauti- on the river that would divert our attention b. 1968, Pennsylvania, USA ful scenery. He spent many days fishing here, away from casting for a while. Ospreys were and I joined him whenever I visited home. among the birds we saw most often. If we were Kentucky River Palisades There were other places where we caught more lucky on occasion, we would see one dive into Osprey fish, but they didn’t have the unique scenery the water and pull out a fish. Watercolor 20 x 30

106 Society of Animal Artists ~ Art and the Animal E xhibition 2011

In the beginning, my work was finished in a gas The dramatic combination of the black crackle pat- Terri L. Russell, SAA kiln and color was limited. I longed for color. Raku tern on a white clay body or crazed across colored Resides: Norman, Oklahoma provided the answer to that longing. It is a process glazes, touched and blended by fire and smoke, adds b. 1958, Kansas, USA that is unpredictable and challenging. Unexpected another dimension to the sculpted form. It seems to results often occur, sometimes remarkable, some- be the perfect exclamation point for my work. Two Frogs times disappointing. The remarkable captures me Red-eyed Green Tree Frogs and draws me back again and again. Clay Sculpture (Raku) 6 x 16 x 12

107 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Jonathan Paul Sainsbury, SAA When I first saw these birds I was smitten. They were a Resides: Comrie, Perthshire, Scotland picture waiting to be painted with their roundness and b. 1951, Stratford upon Avon, England glorious black and white patterning. They were perfect for my series of square paintings.with strong composition Pied Turkeys and design. Charcoal and Watercolor 35 x 35

108 Society of Animal Artists ~ Art and the Animal E xhibition 2011

There are few predators willing to defy reason tecting her cubs. She is a formidable opponent Sherry Salari-Sander, SAA and cross sabers with a grizzly bear. The excep- and rarely losses. This bachelor will meander off, Master Signature Member tion may be a young male grizzly trying to make licking his pride and wounds, duly warned....les- Resides: Kalispell, Montana his mark in the genetic pool. This foolishness is son learned. b. 1941, California, USA rewarded with the ferocity of a mother bear pro- A Mother Bear Grizzly Bear Bronze 19 x 12 x 12 109 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Laurence Saunois, SAA “I have a Dream,” is a famous sentence with a lot of symbol- Resides: Figeac, France ism which corresponds well to all that this drawing repre- b. 1966, France sents for me. These gorillas show love and a peaceful feeling, a very strong emotion between a mother and its baby. What I have a dream is this small gorilla dreaming about—its future life, its sur- Gorillas vival and the survival of its species who will have to escape Charcoal poaching, deforestation and many other things. I had a lot 27.5 x 20 of emotion to draw it. I thought of the future of the planet and all the species on earth which are in danger. 110 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The rare and reclusive Desert Bighorn Sheep are and follow a bachelor herd of Bighorn for most of Sharon K. Schafer, SAA found in scattered bands throughout the desert a day. The massive horns and scarred noses of these Resides: Boulder City, Nevada southwest. While hiking in the Eldorado Wilder- two old rams were a testament to their long life in b. 1952, California, USA ness in southern Nevada I was lucky enough to find a rugged, arid, and unforgiving land. Dawn Watch Desert Bighorn Sheep Acrylic on Hardboard 20 x 30

111 Society of Animal Artists ~ Art and the Animal E xhibition 2011

George L. Schelling, SAA It would have been great to experience the lodon, raptors and pterosaurs and am working on Resides: Laceyville, Pennsylvania prehistoric world in person, however, our imagi- an action scene of two tyrannosaurs fighting over b. 1938, Massachusetts, USA nation of what it may have been will have to do. a kill. Trying to capture the spirit of this era is my I have painted the T-Rex, Elasmosaurus, Mega- challenge. Canyon of the Pterosaurs Pteranodon Pastel 16 x 20

112 Society of Animal Artists ~ Art and the Animal E xhibition 2011

For “School Belle,” an old school bell that is in our paint. The raven came from one of our trips to Suzie Seerey-Lester, SAA front yard was the start of the painting. I thought Yellowstone. He was such a character, and posed Resides: Osprey, Florida it would be more interesting to make this a hori- for me for quite a while. I wanted to show the b. 1955, Michigan, USA zontal painting with horizontal elements, instead beautiful colors that the ravens have, from black of a vertical image. The background was an old to blue to a greenish transparent color when the School Belle house about 3 miles away. I love the old cracking light hits their feathers. Raven Acrylic 18 x 36

113 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Jan Sharkey Thomas, SAA “Ishka” was my beloved companion and was as though her body formed itself. I com- Resides: Salt Spring Island, model for 25 years. She shared our bed, our pleted her face on the brink of tears, and I British Columbia, Canada meals, and our midnight ice cream. She was knew in that instant that we were connected b. 1930, New York, USA the heart of almost every kind of cat I paint- for all time. ed or shaped. Modeling her from memory, it Ishka Ocelot Paper (shredder mache - stained and waxed) 11 x 34 x 12 114 Society of Animal Artists ~ Art and the Animal E xhibition 2011

For me, growing up with retrievers, the scene in stick to your feet. 5) Dog shakes off excess water Cathy Sheeter, SAA “Shakin’ It Up” is one I know well! It goes some- (when he is less than two feet away) leaving dog Resides: Aurora, Colorado thing like this. 1) Throw stick in water for dog. mostly dry and you soaking wet. 6) Dog gives b. 1979, Oregon, USA 2) Dog leaps into water at one hundred miles you “the look” waiting for you to do it all over an hour and grabs stick. 3) Dog quickly turns again. 7) Repeat steps 1through 6 at least an- Shakin’ It Up to bring stick back. 4) Dog runs and returns other hundred times. Golden Retriever Dog Scratchboard 14 x 18

115 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Rachelle Lee Siegrist, SAA I was inspired to paint this gorgeous crab the mo- colors that adorned it, as well as its size, truly cap- Resides: Townsend, Tennessee ment I spotted him during a recent expedition to tivated me. b. 1970, Florida, USA the Sea of Cortez in Mexico. The beautiful, bright

Sally Lightfoot Sally Lightfoot Crab Opaque Watercolor 3 x 3

116 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I enjoy searching for insects as I hike in the This beetle is exactly the opposite, shining Wesley (Wes) Scott Siegrist, SAA woods, particularly those that blend into out like a neon sign on the path, and im- Resides: Townsend, Tennessee their surroundings via their camouflage. possible to overlook. b. 1966, Indiana, USA

Six-spotted Tiger Beetle Opaque Watercolor 2.5 x 4.5

117 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Morten E. Solberg, SAA I started painting shapes and color on a board rious quality while creating representational Master Signature Member searching for a mood of soft color and a myste- shapes which had meaning. Resides: Spring Hill, Florida b. 1935, Ohio, USA

Morning Mist Horses Acrylic 15 x 22

118 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I first saw this birdbath on a favorite walking seahorses as the sparrow’s audience, listening in- Heather Soos route and thought the seahorses’ forms would tently to its beautiful song. I originally had a dif- Resides: Winnipeg, Manitoba, Canada be interesting to paint. I included a Song spar- ferent title but was later influenced to change it b. 1963, British Columbia, Canada row – they were common in the area – and chose by my daughter, Coleen, when she came up with this drooping cedar because it complemented the this one. A Seahorse Serenade seahorses bowed heads while its coloring seemed Song Sparrow Acrylic on Hardboard reminiscent of their underwater environment. 20.5 x 13.5 As I envisioned the scene in my mind I saw the

119 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Pati Stajcar, SAA As a volunteer for Raptor Education Foundation, If you look up you might be lucky enough to see Resides: Golden, Colorado I get to work with many different kinds of birds the prairie falcon soaring high above the Colorado b. 1958, Pennsylvania, USA of prey. The prairie falcon under our care lived a Plains, riding the wind currents unrestrained. long full life and was a great ambassador for the Prairie Wind ecological diversity programs the foundation hosts. Prairie Falcon Bronze 23 x 7 x 7

120 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The impetus for this painting was the expression on instantly sprung into my mind. This painting was Tiffany Stevenson the coyote’s face. Full of mischief, yet alert, this coy- both very fun, and yet very challenging for me to Resides: Roy, Utah ote was onto something, but what? The image of a complete. And viewer, not to worry, the field mouse b. 1983, Utah, USA little field mouse frozen in its place, hoping to some- got away. how elude the playful predator towering above it, Hide and Seek Coyote and Field Mouse Oil 24 x 28

121 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Joseph H. Sulkowski, SAA Sadie is my little brindle Boston terrier. Her ex- nature of the cast shadows. The dynamic tension Resides: Franklin, Tennessee uberant personality shows itself in many ways- in the twist of her reddish-brown figure settled b. 1951, Pennsylvania, USA even at rest. She was napping on her bed one in the midst of the contrasting blue bedding was afternoon in my studio and, as I looked down at instantly inspiring! Sadie her, I was struck by the way the light was hit- Boston Terrier ting her-particularly the drama and rhythmic Oil on Panel 20 x 16

122 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Great white egrets seem to appear a brilliant reminded me of the head dress worn by ancient Francis Edward Sweet, SAA white even in the dusk of evening and early warriors as they went to battle—thus the ap- Resides: Bowie, Maryland night hours. Their feathered crests have always propriate title “ Neon Knights.” b. 1938, New York, USA

Neon Knights Great White Egrets Scratchboard 24 x 18

123 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Darlene G. Swibb The wild souls of this earth draw me into their This is my life’s work, my joy, my purpose. My spirit Resides: Arlington, Vermont world, and as I enter, they touch my soul, and I is enriched by the experience and I become what I b. 1963, Ontario, Canada am inspired to chronicle their lives. Through paint, was meant to be and accomplish that which I was pencil and sculpture, I preserve their essence and meant to do. Late Day Lull share it with the world. Japanese Macaque Acrylic 15.5 x 13.5

124 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Ever since my youth I have always loved sitting Red, Cadmium Yellow and Ultramarine Blue. Jason L. Tako, SAA and listening to the sounds and silence of a wet- These pure colors, when mixed together give me Resides: Dover, Pennsylvania land, finding so much serenity in the water, mud beautiful, subtle neutrals that don’t become too b. 1972, Minnesota, USA and cattails. The whistle of a Wood Duck cutting dull. This helped tremendously with the hen, through the silence, as well as the striking colors which has beautiful color subtlety within her Courtship they display, is a perfect complimentary paradox muted camouflage. Pair of Wood Ducks Oil on Linen to the subtle wetland backdrop. For this painting 18 x 24 I used mostly a limited palette of just Cadmium

125 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Kristine Davis Taylor, SAA Swans are often depicted as symbols of grace, pose, I chose to emphasis the swan’s power and Resides: Portola Valley, California love, and tranquility. In fact, they are large, confidence by sculpting it in the act of preen- b. 1950, California, USA powerful, and, at times, aggressive birds that ing while ruffling those large powerful wings. will fight to the death to defend their terri- The dark patina also enhances the sense that Preening Swan tory and mate. Instead of the typical graceful this is a bird to respect. Trumpeter Swan Bronze 9.5 x 7.5 x 9

126 Society of Animal Artists ~ Art and the Animal E xhibition 2011

A brown trout, a rainbow trout, and a swallow are them for a major portion of their summer diet, Fred W. Thomas, SAA the main characters in this painting, but all of the too. Resides: Shoreline, Washington action relates to a mayfly hatch. b. 1943, Washington, USA In this painting I have tried to capture the remark- Fly fishermen throughout the world are familiar able time when mayfly nymphs swim to the surface Plenty for All Brown Trout and Rainbow Trout with the mayfly and in some locations mayflies and become airborne adults. Typically, the hatch Oil make up to one-half of a trout’s diet. And it’s not produces millions of insects and there is “Plenty for 18 x 36 just trout that depend on this important insect. All.” Many bird species, including swallows, rely on 127 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Dana Lee Thompson I am always inspired by hounds. I saw this hound flected off of the metal trailer. I loved the strong Resides: Midland, Virginia sticking his head out of this horse trailer and was dynamic contrasts of the hounds soft coat against b. 1954, Washington DC, USA intrigued by the warm and cool colors as they re- the hard surface of the trailer.

Trailer Hound Foxhound Oil 11 x 8.5

128 Society of Animal Artists ~ Art and the Animal E xhibition 2011

The great blue heron white morph is a species of spe- composition, I used a dramatic light to evolve the France Tremblay cial concern, threatened by the fragility of its habi- white into a richer palette. To this day, my memory Resides: Ottawa, Ontario, Canada tat. I was privileged to observe a few of these “white remains filled with images of this white splendour b. 1962, Quebec, Canada herons” when traveling to the Everglades and the gracefully flying above the river of grass or resting, Keys. In this painting, I wished to convey the beau- overlooking his home with majesty. White Splendour ty and nobility of this magnificent bird. For the Great Blue Heron (white morph) Acrylic on Canvas 16 x 20

129 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Debra L. Trent, SAA To observe a red fox in motion is pure joy to me. with a simple color scheme to strengthen the design, Resides: Myersville, Maryland From their tiny little nose to the tip of their luxuri- then placed the running fox where his dynamic pos- b. 1954, Germany ously bushy tail, there is no flashier canine in all of ture would create energy and tension. nature. When choosing this subject to paint I went Little Red Hot Rod Red Fox Oil 20 x 20

130 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I received my inspiration for the painting of the buffalo comes from just such an oasis. We had seen Gunnar Tryggmo buffalo when we were watching out for leopards many buffalo in the ordinary sun burnt grass, but Resides: Viken, Sweden near Seronera in heart of the Serengeti plains. the lush greenery made the scene with this old bull b. 1969, Sweden We had followed a dry riverbed where they occa- especially interesting. I find these beasts fascinat- sionally come in search of lingering pools of water. ing subjects, with their thickset, crude bodies and Buffalo Cape Buffalo These ponds are an important part of life for the faces full of character. Oil on Canvas animals during the dry season. The image of the 26 x 41.5

131 Society of Animal Artists ~ Art and the Animal E xhibition 2011

David H. Turner, SAA Stalking Fox is my attempt to capture the essence of The transparent reddish tan patina is fairly realistic Resides: Onley, Virginia cunning and stealth of a Red Fox. This fox is poised while at the same time allowing for the richness of b. 1961, Virginia, USA to pounce in an instant or to freeze in this position the bronze to show through. Nature is ultimately the for some time until the precise moment to attack inspiration for my works. Stalking Fox presents itself. Red Fox Bronze The hollowed eyes with a dark patina helps to give 21 x 23 x 7 the Fox a sly and intent look.

132 Society of Animal Artists ~ Art and the Animal E xhibition 2011

“Angle of Repose” is an engineering term for the ide- on one side, oil and, on the other side, protection of Kent Ullberg, SAA al angle created through opposing forces when un- our natural environment. Here we have to find our Master Signature Member like particles rolling down a slope stop falling and own angle of repose as a nation and work together Resides: Corpus Christi, Texas become stable. to achieve it. b. 1945, Gothenburg, Sweden

With the angular treatment of this sculpture I Angle of Repose Brown Pelican wanted to address our perceived opposing needs of, Bronze 17.5 x 11 x 21.5 133 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Lani Vlaanderen “The Opportunist,” a Turkey Vulture, is perched summer morning, he coyly turned his head in my Resides: Drake, Colorado and waiting to fulfill his necessary role in the food direction, as if proclaiming his innocence, before b. 1952, Colorado, USA chain. They are one of nature’s unsung heroes in taking flight in search of breakfast. It was a beau- need of a little respect. This fellow was communing tiful morning. The Opportunist with probably twenty others of his flock, perched Turkey Vulture on the bare branches of an aged cottonwood tree. Oil Catching the first warm rays of sun on an early 24 x 20

134 Society of Animal Artists ~ Art and the Animal E xhibition 2011

I found this handsome fellow in Tuscany, Italy. As head, on the butt, on the horn, the ear, a sensual glow Sue Westin, SAA much as I loved seeing the great art from the past, the below the ear and a subtle glow hanging from the Resides: Dorset, Vermont cobblestone streets, the colors and textures of Florence, shaggy mane. The trick is to capture the subtle nu- b. 1950, Connecticut, USA Sienna, and smaller towns, I needed a break. Thus, ances of the animal while also enjoying the nuances of one morning I headed from the villa by foot towards paint. Upon completion my eyes do a dance, up, over, Cashmere Glow Cashmere Goat the whereabouts of a pasture containing a herd of down, across, around and about from glow to glow. I Oil cashmere billy goats. There I might find the model for am pleased. I have cashmered. 16 x 20 my own small masterpiece. Later, back in the States, I pulled out the paints. I wanted glow … on the fore- 135 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Ronnie Williford, SAA I never get tired of watching lionfish. To be so dead- feathered Brazilian dancers during Carnival. They Resides: Georgetown, Texas ly, they are surprisingly passive and slow moving. I are beautiful to observe and too dangerous to ap- b. 1960, Texas, USA imagine the large, plume-like fins are supposed to proach. be a warning to predators. They remind me of the Fishfeathers Red Lionfish Watercolor on Arches Paper 10 x 14.5

136 Society of Animal Artists ~ Art and the Animal E xhibition 2011

During a fall workshop in Teton National composure though surrounded by ever pres- Kay Elizabeth Witherspoon, SAA Park, I shot countless photos of this mesmer- ent dangers. Accentuating reds, oranges, Resides: Englewood, Colorado izing moose family. It wasn’t until I hap- and sharp environmental cool/warm b. 1949, Montana, USA pened upon a landscape photo that showed lighting contrasts, coupled with haloing exceptional lighting along a creek bed that the animals’ silhouettes with infused light Moose Creek Crossing I was finally able to transform my own worked to recreate for me that mesmerizing Moose Cow and Twin Calves photographic images into a painting that I element of wonder. Oil on Belgium Linen felt captured the calves’ vulnerability, their 12 x 22 “cuddly” caricatures, and the mother’s alert 137 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Steve Worthington, SAA Life is a journey. Resides: Santa Fe, New Mexico As much for mice as for us. b. 1966, England Sadly for mice, they usually end up as a tasty snack. Happily for us, we’re more likely to glide up to the other shore in our old age. Crossing Over Either way life is fleeting. Mice Might as well enjoy the ride. Bronze 10 x 18 x 4

138 Society of Animal Artists ~ Art and the Animal E xhibition 2011

Using a simple composition in a small format, “Ice Tracker” Aaron C. Yount, SAA conveys the focus and determination of a wolf. Resides: Towanda, Illinois b. 1974, Illinois, USA

Ice Tracker Wolf Oil on Linen 14 x 8

139 140 3

S o c i e t y o f A n i m A L A r t i S T S

I n M e m o r i a m

Artists toil, move on, and are no more. But their works remain, enriching the world.

Death has claimed many members of the Society of Animal Artists since its founding in 1960. These artists supported the Society during their lifetimes and each made his or her special contributions to art. Although separated from us by death, they are fondly re- memberd by their fellows.

Dennis Anderson Charles De Feo Harry L. Hoffman C. E. Monroe Jr John Schoenherr Dharbinder Bamrah Jack L. Dumas Anna Hyatt Huntington Lanford Monroe Robert M. Scriver Cheryl Battistelli * Donald R. Eckelberry Laurence G. Isard Benson Moore Louise Shattuck William F. Bartlett Mel Fillerup* Francis L. Jaques Robert E. Pease Joseph Sibal Thomas Beecham Charles Fracé Katherine Todd Roger Tory Peterson Richard Sloan Edward Bierly Brenda Frey Johnstone Harriet E. Phillips Sharon Sommers Patricia Allen Bott Elizabeth Rungius Fulda Louis Paul Jonas Werner R. Plangg Helen Damrosch Tee-Van Guido Borghi Arthur D. Fuller Alma Kline Karl Plath Linda Thompson Joseph L. Boulton Donald Grant Les Kouba Catherine Porteous-Sutton Walter A. Weber Jean Bowman Grant O. Hagen Robert Kuhn Mary Purdey Katharine Lane Weems Paul Bransom Joseph Halko James Landenberger Robert L. Refvem Clement Weisbecker Larry Chandler Evelyn Haller Ole Larsen William Reusswig Robert G. Wehle Gardel Dano Christensen Peter Haller Gertrude K. Lathrop Robert Sadler Milton C. Weiler John Clymer John F. Hamberger Fred Machetanz Robert R. Salo * Walter J. Wilwerding Gifford Cochran Cleo Hartwig Stanley Meltzoff Lloyd Sandford Farrell R. Collett Everett Hibbard Donald Miller Sam Savitt Simon Combes Mel Fillerup Ugo Mochi Robert Scriver

* On the following pages we acknowlege these 3 artists who died in the last year.

141 I n M e m o r i a m

Cheryl anne Battistelli Resided: Ontario, Canada 1962-2011

Between 2001 and 2009, Cheryl Anne Battistelli’s work has several times been selected to be part of the Ducks Unlimited Canada National Art Print Portfolio. In 2010, her work was chosen for inclusion in the Society of Animal Artist’s 50th annual Art and the Animal Exhibition, receiving the Leonard J. Meiselman Memorial Award for a Realistic Painting in an Academic Manner. Her work has also been recognized by both the Northern Ontario Art Association and the Pastel Society of Eastern Canada.

A signature member of the Pastel Society of Canada, she exhibited annually at the Buckhorn Fine Art Festival in Buckhorn, Ontario, Canada. Her paintings can be found in collections across Canada, the United States and Europe.

Cheryl’s sister, Carmen writes “Cheryl was so proud to have been accepted as one of your artists. I believe she saw it as the first formal international recognition of her work. She’s had American collec- tors, people who’ve travelled to Canada to buy her work, but being accepted into your Society was a significant coup for her.”

142 I n M e m o r i a m

Mel Fillerup Resided: Cody, Wyoming 1924-2010

Early in life Mel Fillerup came He attended the University of Wy- to feel the excitement that is the oming where he graduated with a wonderful world of drawing and law degree. In 1952, he and his wife, painting. The home library - dur Ruth, moved to Cody, Wyoming, ing those early years had a set of where he opened a law office. He children’s books entitled “My continued drawing and painting Bookhouse” and “Drawing Made as an avocation. In 1977 he made Easy” by Charles Lederer. Mel cop- painting his full-time profession. ied many of these illustrations and He has had the good fortune to went through the exercises in the come under the influence of Con- art instruction book many times. rad Schwiering, Paul Bransom, Bob There was no art instruction in Meyers, Robert Lougheed, and Bill the high school in those days, but Reese. he was unofficially considered the class artist.

143 I n M e m o r i a m

Bob Salo Resided: Milliken, Colorado 1934-2010

Longtime SAA member Robert “Bob” Salo ceased honing his skills He went on to a varied graphic arts career, was an award winning artist, who loved to which included work with LTV Aerospace, Ford Motor Company get together with other SAA members to and The Christian Science Monitor all the while creating and selling paint with them as well as share art ideas his wildlife, landscape, and still life canvases during his spare time. and news. One of his proudest moments was when his painting Mountainside Bu- Influenced by masters such as Claude Monet and Carl Rungius, gler received SAA’s Award of Excellence Bob always strove to communicate a mood—be it peaceful and se- at the 1988 “Art and the Animal” Annual rene or frigid cold—with the light reflected in his paintings. As his Exhibit. wife, Jeanne, recalls, Bob hoped viewers of his artwork would feel the same sensations he did when creating a painting. “He wanted people Bob was raised in Michigan’s Upper Peninsula. He spent his life to see his work and think ‘I’d like to be up in those mountains, too, capturing images on paper or canvas that triggered his imagination. watching that bighorn sheep or elk. Painting outdoors so everything His childhood summers were passed at was right in front of him—the light, the his Finnish grandfather’s farm where he context—was what he loved most. It milked cows, baled hay, and handled a didn’t matter if it was six degrees, or 96 draft-horse-driven plow. When done degrees, Bob would paint in any kind of with his chores, he’d sit under an apple weather.” tree observing the movements of the cows, horses, chickens, cats and dogs he In his own words, Bob had this to say saw daily and sketch studies on paper. about his artwork: “The first thing I cre- That sense of curiosity and passion for ac- ate for a painting is an atmosphere. It’s curacy continued to be Bob’s trademarks kind of like trying to explain a feeling but as he evolved his own distinctive broad- it’s important because the atmosphere brushed style. He attended art school becomes the concept of the painting and for just one year after serving in the U.S. I want my paintings to say a lot. I want Army, but learned lessons during that time that proved invaluable. them to be specific about the locality, the season, and the time of day. He made the principles of perspective and composition his own and I hope they tell it all.” defined his palette, which consisted of two reds, two blues, and two yellows. Although that year ended his formal training, Bob never

144 S o c i e t y o f A n i m A L A r t i S T S

Membership & Award History

145 S o c i e t y o f A n i m A L A r t i S T S

Membership

The membership roster of the Society of Animal Artists wishing to become members must sub- The applicant’s work is evaluated for: Artists reads like a “Who’s Who” of the world’s mit five images of what they consider to be their • good composition/design, most significant artists working in the genre of best work to the SAA Membership Jury for con- • thorough understanding of animal anatomy, animal art today—and during the past fifty years. sideration. Twice a year, in Spring and Fall, the behavior, and environment, Membership Jury (comprised of nine respected • a distinctive style and Membership is coveted by leading painters and and accomplished Signature members) meets to • mastery of their chosen art medium. sculptors around the globe, and just being ac- review these images. Only those artists who have attained the highest cepted as a member of this esteemed organiza- levels of artistic achievement are offered the op- tion is a real achievement. portunity to become members of the SAA. There are Three Levels of Membership for Artists

Master Signature Members are awarded this Signature Members are considered to have Associate Members are valued members of the distinguished classification as the highest mark of achieved the highest level of artistic achievement. organization and may participate in all exhibi- respect for their exceptional artistic achievements They are eligible to serve on the Executive Board tions, and are eligible to win awards. in the world of animal art. or as officers of the organization, may vote in elec- tions, serve on juries, and may use the SAA ini- However, they are not yet eligible to vote, serve In order to achieve the Society’s highest level of tials after their signatures. on juries or in the operation of the organization, distinction as a “Master,” an SAA Signature Mem- or use the SAA initials after their signatures. ber must have received at least five (5) Awards of The Distinguished Signature designation is for Excellence in our annual exhibitions over the those who have had the honor of having their Associate Members may obtain Signature sta- years. work included in a minimum of fifteen (15) -An tus by: nual Exhibitions. The SAA is privileged to have 1) winning an Award of Excellence in one of the Their artwork for each year’s Annual Exhibition had these outstanding artists as long-time sup- Annual Exhibitions, no longer has to be submitted to the selection porting members. They have contributed signifi- 2) being juried in to three (3) Annual Exhibi- jury. It is automatically accepted. cantly to the promotion of excellence in the genre tions, or of animal art. They are denoted in the Membership 3) by submitting five new images of one’s work to We are honored to have these artists as participat- List with an asterick following their name. the Membership jury for review, with a request ing members of the Society of Animal Artists, for promotion to Signature Status. and it is always a privilege to have their work rep- resented in our exhibitions.

146 S o c i e t y o f A n i m A L A r t i S T S

Membership *Denotes Distinguished Signature Member

Master Signature Peter Baedita Salvatore Catalano Shane Dimmick Members Tucker Bailey Chapel Bruce Dines Charles Allmond* John Banovich* Dan Chen Paul Dixon Chris Bacon Barbara Banthien Tim Cherry* Mel Dobson Gerald Balciar* Mike Barlow Richard Clopton Kelly Dodge Robert Bateman* Al Barnes Caroline Winston Cochran Mick Doellinger Burt Brent* Heather Bartmann James Coe Michael Dumas Carel P. Brest van Kempen* Kalon Baughan Ian Coleman Kathleen Dunn Guy Coheleach* Joy Kroeger Beckner Guy Anthony Combes Stephen Elliott Walter Matia* Greg Beecham Randall Compton Beth Parcell Evans Leo E. Osborne* Reneé Bemis* Bunny Connell Leslie H. Evans Sherry Salari Sander* Beverly Bender* Robert Cook Maurice Eyeington Morten Solberg* Julie Bender Peter Corbin Melanie Fain Kent Ullberg* Eric Berg* Juan Pablo Zapata Cornejo Oscar Famili Linda Besse Joe Coutts Larry Fanning SIGNATURE MEMBERS Thomas J. Bishop Anni Crouter Anne Faust* Robert Abbett Judy Black Dennis Curry Walter Ferguson Beverly S. Abbott Allen Blagden Frances Anne Curtis Del Filardi Sue deLearie Adair Sandra Blair Dan D’Amico Trey Finney Jodie Adams Edwin Bogucki Carol Darling Cynthie Fisher Harry Adamson Beatrice Bork Nancy Darling Lindsey Foggett Al Agnew Paul Bosman Darrell Davis Susan Fox John Agnew J. Clayton Bright Patricia Davis Anne Frey Edward Aldrich Avis Brown Willem De Beer Kathleen Friedenberg* Douglas Allen* Linda Budge Louis De Donato* Christophe Gabriel Anthony Alonso Kenneth Bunn Ewoud De Groot Jeff Gandert Tom Altenburg Dan Burgette Didier Debruyne Martin Gates William Alther Kerri Burnett Leslie Delgyer* Anthony Gibbs Thomas Anderson Tom Buzulak Andrew Denman Albert Gilbert* Melody Asbury Lee Cable Sue Dickinson Daniel Glanz Julie Askew Robert Caldwell Joseph Digangi Robert Glen Del-Bourree Bach Ray Carbone Kim Diment Wilhelm Goebel 147 S o c i e t y o f A n i m A L A r t i S T S

Membership

Veryl Goodnight Cole Johnson Louise Lopina* Arnold Nogy Shawn Gould Jay J. Johnson Cammie Lundeen Ralph Oberg Peter Gray Joni Johnson-Godsy Dorcas MacClintock* Michael Oberhofer Claiborne Duncan Gregory Richard Jones Rob MacIntosh James Offeman Simon Gudgeon Lars Jonsson Terri Malec Steve Oliver Bob Guelich* Karryl Richard Malenky Dan Ostermiller* Grant Hacking Mark Kelso Thomas Mansanarez Kathy Paivinen Hap Hagood Steve Kestrel B.J. Martin Matthew Palmer Gary Hale James Kiesow Jeanette Martone Dino Paravano* Joyce Hall David N. Kitler Diane Mason Emily Parkman* Nancy Halliday Christine Knapp Terry Mathews Leon Parson Lorna Hamilton John Kobald Chris McClelland Victoria Parsons John Nelson Harris Jack Koonce A.J. McCoy Rick Pas Guy Harvey, PhD Kim Kori Jan Martin McGuire Pat Pauley Margaret Hawley Stephen Koury Gregory McHuron R. Kent Pendleton Janet Heaton* Robert Kray George McMonigle Cristina G. Penescu Cathy Hegman Robert Krieg Eric Meyer Patricia Pepin Elizabeth Henry Susan Labouri Judith Angell Meyer Louise Peterson Heiner Hertling Laney* Geordie Millar Anne Peyton Matthew Hillier Brent A. Langley Darin Miller John C. Pitcher* Mark Hobson Judy Larson Terry Miller Justin Prigmore Anthony Hochstetler Bonnie Latham Tiffany Miller Julio Pro Beth Hoselton Karen Latham Ann Milton Randy Puckett Cindy House Rebecca Latham Tara Moore Stephen Quinn Nancy Howe* Rod Lawrence James Morgan Don Rambadt Karen Hultberg Karen Leffel-Massengill Sean Murtha David Rankin* Cary Hunkel T.J. Lick Yoshikazu Natsume Mae Rash Ivan Hyatt Esther Lidstrom Barbara Nelson Gamini Ratnavira Terry Isaac Janeice Linden Rock Newcomb Don Ray Nikolay G. Ivanov Glen Loates Ken Newman Ruth Ray Patricia Jackman Lynne Lockhart Marilyn Newmark* Linda Raynolds Ryan Jacque George Lockwood Alison Nicholls Kevin Redmayne Brian Jarvi Anne London Calvin Nicholls Maynard Reece 148 S o c i e t y o f A n i m A L A r t i S T S

Membership

Gene Edward Reineking John Seerey-Lester Jan Sharkey Thomas* Peter Zaluzec Linda Relis Suzie Seerey-Lester Dahrl Thomson Vicki Renn Kathleen Sheard Eric Thorsen ASSOCIATE MEMBERS Diana Reuter-Twining Cathy Sheeter Margery Torrey Douglas Aja Paul Rhymer Donald Sible Sergei Traschenko Karen Allaben-Confer Andrea Rich Rachelle Siegrist Bob Travers Phillip Allder Martiena Richter Wes Siegrist Debra Trent Patricia Lynn Arbino Julia Rogers Kelly Singleton Wayne Trimm* Maxine Arbuckle Rosetta* Robert Sleicher David Turner Mickey Asche Joan Binney Ross Daniel Smith Lynn Understiller Anita Wilhelmina Baarns Linda Rossin Dee Smith Heidi Uotila Tammy Bality Ken Rowe Geoffrey Smith Marlowe Urdahl Nancy Bass Edward Royal Jill Soukup Dick Van Heerde Mary Beacon Donald Rubin Leslie Spano Joseph Vance* Robert Bealle Jon Ruehle Joshua Spies Diane Versteeg Rita Bechtold Bart Rulon* Linda St. Clair Lynn Wade Julie Bell Terri Russell Lyn St. Clair Donald Webster Sally Berner John A. Ruthven* Gary Staab Dale Weiler Richard Botto Jonathan Sainsbury James Stafford Sue Westin* Peta Boyce Alan Sakhavarz Pati Stajcar W. Leon White George Bumann Lennart Sand Debbie Stevens Jeffrey Whiting Helene Burrow Laurence Saunois William Stout Timothy Widener DeVere E. Burt Patricia Savage Debbie Edgers Sturges Kay Williams Mark Allan Collins Stefan Ellis Savides Joseph H. Sulkowski Ronnie Williford Barbara Conaway Betty Schabacker Mark Susinno Nicholas Wilson Carrie Cook Sharon K. Schafer Joseph Swaluk Ria Winters Jean Cook George Schelling* Jan Sweeney Kay Witherspoon Mary Cornish William Schnute Francis Sweet* Ellen R. Woodbury David G. Derrick, Jr. Burton Schuman Frederick Szatkowski Jan Woods Susan Dorazio Jeanne Filler Scott Jason Lee Tako Steve Worthington Shane Duerksen Lindsay Scott Kristine Davis Taylor Scott Yablonski Lori Anne Dunn Sandy Scott Mary Taylor Susan Bankey Yoder Lisa Egeli Robert Seabeck Fred Thomas Aaron Yount Lyn Ellision 149 S o c i e t y o f A n i m A L A r t i S T S

Membership

Dawn Emerson Brenda Will Kidera Arlene A Rheinish Jacques Wetterer Gary W. Ferguson Leslie Kirchner Margaret Rice Victoria Wilson-Schultz Kate Ferguson Yvonne Kitchen Elizabeth Rieke-Hefley Terry Woodall Cathy Ferrell Marie E. Pierce-Ruhland Maureen Riley Amy Bartlett Wright James Fiorentino Koehlinger Derek Robertson Keri Young Jeanette Fournier Sheryl Lanier Jenny Forge Schmalstieg Sharon Fullingim Heather Laws Ann Self PATRON MEMBERS Tykie Ganz Stephen Left Lyndsey Selley James L. Bellis, Jr. Anita P. Gersch Linda Lemon Karen Siek James L. Bellis, Sr. Andrea Gianchiglia Patsy Lindamood William Silvers Gail Bliss Jim Gilmore Steven David Lingham Ryan Skidmore Carl Delgyer Pat Gilmore Laura Mark-Finberg Judith Gebhard Smith Martha Bellis Gregg Lisa Gleim Roger Martin Roger Smith Blair Bellis Judson Sue Gombus Sharon Irene Martin Heather Soos Jane Parient Laurel Peterson Gregory Eileen Matias Eileen Sorg Peter C. Ross Janice Gunlock Sally Maxwell Eva Stanley Rikki Saunders Gemma Gylling Douglas McCallum Andrea Harman Steiner Shari Vines Tracy Elizabeth Hall Billy-Jack Milligan Tiffany Stevenson Jason Yount Whitney Michelle Hall Sumner Misenheimer Aleta Steward SPONSORING MEMBERS Mark Yale Harris Dale Muller Ken Sullivan Joy and Masood Garahi Judith Hartke Helen Nash Linda Darsow Sutton Rose Keesee Hava Hegenbarth Susan W. Newman Darlene Gail Swibb Nancy and Bruce Thomsen Leslie Hutto Munenori Okada Edward F. Takacs Wes Hyde Ron Orlando Sam Thiewes SUSTAINING MEMBERS Clint Jammer Pokey Park Dana Lee Thompson Isabel and Sheldon Sklar Brett Malcolm Jarrett Kathy Partridge Tamara Thornton Stephen A. Jesic Cees Cornelis Penning France Tremblay IN MEMORY OF Brenda Johnson David Petlowany Gunnar Tryggmo Kenneth S. Roe Gary R. Johnson Bryce Pettit Burneta J. Venosdel Bob Salo Ott Jones Pollyanna Pickering Joseph Venus Media Sponsors Deborah Kaspari John Potter Lani Vlaanderen Southwest Art Magazine Clive Kay Carrie Quade Joe Weatherly Western Art Collector Magazine James Patrick Kennedy Sonia Reid Pat Weaver

150 S o c i e t y o f A n i m A L A r t i S T S

Award Winners 1979-2010

2010 Western Art Collector Editor’s Choice The Leonard J. Meiselman Memorial The Evelyn and Peter Haller Memorial Awards of Excellence James Coe, Winter Abstract with Heron Award for a Realistic Painting Award For Sculpture Charles Allmond, Daydreamer James Offeman,Yellowthroat Gerald Balciar, Mountain Boomer Robert Bateman, Bowhead and Snow The Ethology Award for the Best Buntings Depiction of Natural Behavior in Any The Leonard J. Meiselman Memorial The Mason Family Foundation Carel P. Brest van Kempen, Riparian Medium Award for a Realistic Sculpture Award for the Best Depiction of Rashomon Linda Besse, Battle Royale John Kobald, Boredom Breaker Natural Behavior Peter Gray, Great Expectations Patricia Pepin, Emerald Water Pat Jackman, Windy Beach Day The Newcomer Award for a First Time The Hiram Blauvelt Art Museum Lars Jonsson, Living with the Wind Participant in the SAA’s Annual Purchase Award The Hiram Blauvelt Art Museum Rick Pas, Ring-neck II Exhibition Matthew Hillier, Stampede Purchase Award Don Rambadt, Solstice Chris McClelland, Dugga Boy Paul Rhymer, Free Ride Sherry Salari Sander, Horses of the Mountain The Haller Distinguished Young Sandy Scott, Equus Found Fragments I and II 2009 Artist Award for 2009 The Haller Distinguished Young Mark Susinno, Over the Top Awards of Excellence Cathy Sheeter Artist Award For 2008 Robert Caldwell Kay Witherspoon, Determination Gerald Balciar, Burst of Spring Julie Bender, On the Alert 2008 The Don Eckelberry The Patricia A Bott Award Burt Brent, Gliding Grebes Awards of Excellence Scholarship Award for Creative Excellence Juan Pablo Z. Cornejo, Twins Talking John Banovich, End of Days Darin Miller Gary Staab, Atta Andrew Denman, Twist James Coe, Mallards on Melted Ice Leslie H. Evans, Silverback Kathleen Dunn, July the 5th The President’s Award The Evelyn and Peter Haller Memorial Patricia Pepin, Mara Baby Laney, Above Ross Lake Peter Gray, Award for Sculpture Andrea Rich, Snipe Paul Rhymer, Free Ride Patas Perspective Dan Chen, Between the Rafters Sherry Sander, The Heavies Jill Soukup, Lunch Break The Stanley Meltzoff Cathy Sheeter, The Hypnotist Memorial Award The President’s Award Morten Solberg, Visit to the Fox Den 2008 Bott-Borghi-Bransom Paul Rhymer, Jan Martin McGuire, Dust Devil Timothy Widener, Mirror, Mirror Legacy Award Free Ride Charles Allmond The Leonard J. Meiselman Memorial The Patricia A Bott Award John Schoenherr 2007 Award for a Realistic Painting for Creative Excellence Awards of Excellence Cheryl Gervais Battistelli, Winter Light John Agnew, New Guinea Crocodile The Leonard J. Meiselman Memorial John Agnew, African Elephant Award for Realistic Sculpture Tucker Bailey, Luna The Leonard J. Meiselman Memorial The Evelyn and Peter Haller Memorial Executed in an Academic Manner Dan Chen, Hen & Egg Award for a Realistic Sculpture Award for Sculpture Ken Newman, Sun Seekers Dan Chen, Peacock & Wisteria Patricia Davis, Summer Stock (Plunging Dan Burgette, Panic Attack Sue Dickinson, Zebras in the Mist Stock, Rising Stock, Taking Stock) The Leonard J. Meiselman Memorial Melanie Fain, Tangled Web The President’s Award Award for Realistic Painting Hap Hagood, On a Winter’s Moon The Hiram Blauvelt Art Museum John Banovich, Shelter from the Storm Executed in an Academic Manner Richard R. Jones, Color in the Canopy Purchase Award Susan Labouri, Saved By A Feather George Lockwood, Fatal Attraction Peter Gray, Great Expectations The Mason Family Foundation Awards (2) Geordie Millar, Walking #4 Stephen Quinn, Reclining Black Rhinoceros Anne Faust, Do-Se-Do with your Partner The Patricia Allen Bott Award Rosetta, Wildebeest Sharon Fullingim, Curiosity for Creative Excellence (Painting Sue Westin, Texture & Nuance Southwest Art Editor’s Choice Award or Sculpture) Julie Bell, Alpha Wolf Dan Chen, Hit-And-Miss

151 S o c i e t y o f A n i m A L A r t i S T S

Award Winners 1979-2010

2007 Bott-Borghi-Bransom 2006 The Evelyn and Peter Haller The Don Eckelberry Scholarship Award Legacy Award Awards of Excellence Distinguished Young Artist Award Dale Dyer Dorcas MacClintock Jan Martin McGuire, Rock Retreat Ken Rowe W. Leon White, The Night Watchman The Evelyn and Peter Haller The Leonard J. Meiselman Memorial Pat Jackman, Neptune The Don Eckelberry Scholarship Award Distinguished Young Artist Award Award for Realistic Sculpture Louise Peterson, Chickadee Andrew Denman Darin Miller Executed in an Academic Manner John C. Pitcher, Discernment, Golden Eagle Ken Rowe, Scholar of the Moon Carel Pieter Brest vanKempen, Harris’s 2005 2004 Hawk & Chuckwalla Awards of Excellence Awards of Excellence The Leonard J. Meiselman Memorial Ken Rowe, Blue Heron Gerald Balciar, Pride Francis Sweet, Hot Afternoon Award for Realistic Painting Robert Bateman, On Salt Spring - Sheep Al Barnes, Ibis and Spoonbills Steve Oliver, If Looks Could Kill Executed in an Academic Manner Carrie Gantt Quade, Charlotte Sandra Blair, Along the Fence Row Karen Latham, In the Light Robert Bateman, Meru Dusk Willem de Beer, First Snow of Winter Burt Brent, Eagle Skull Pete Zaluzec, Bee-eaters John Seerey-Lester, White on White Chapel, Ghost at the River Carel Pieter Brest van Kempen, Northern The Patricia Allen Bott Award Matthew Gray Palmer, Sea Bear Anne Faust, This is MY Chicken! Cacomistle for Creative Excellence (Painting or Ryan Jacque, Big Shoes to Fill Andrew Denman, Marina Sculpture) The 2006 Bott-Borghi-Bransom Joni-Johnson-Godsy, Here Comes Trouble Geordie Millar, Walking #4 Legacy Award A. E. London, Kitabu The 2004 Bott-Borghi-Bransom Doug Allen Walter Matia, Pride Legacy Award The Evelyn and Peter Haller Memorial Ken Newman, Turbulence on Horse Creek Guy Coheleach Award For Sculpture The Leonard J. Meiselman Realistic Andrea Rich, Bearded Leo E. Osborne, Eagle Song Painting executed in an Academic Manner Rachelle Siegrist, The Zookeeper’s Assistant The Hiram Blauvelt Art Museum Award Ronnie Williford, A Slave to Fashion Purchase Award The Mason Family Foundation George Lockwood, Glacier Rams Pete Zaluzec, Bee-eaters Award for the Best Depiction of Natural Behavior The Leonard J. Meiselman Realistic The 2005 Bott-Borghi-Bransom Legacy Award The Patricia Allen Bott Creative Patricia Pepin, Samburu Elephants Sculpture executed in an Academic Excellence Award (Painting or Sculpture) Joseph Vance, Jr. Manner Award Ken Newman, Tale of Attitude The Hiram Blauvelt Art Walter Matia, Molly is a Working Girl Museum Purchase Award The Patricia A. Bott Award for Creative Excellence (Painting or Sculpture) The Leonard J. Meiselman Memorial Dino Paravano, Going Hunting The Patricia Allen Bott Creative Award for Realistic Painting Excellence Award Ken Newman, Turbulence on Horse Creek The Evelyn and Peter Haller Award Kalon Baughan, Teton Moose The Haller Distinguished Mark Susinno, Batting Cleanup Young Artist Award For 2007 for Sculpture Geordie Millar The Evelyn and Peter Haller Award Chapel, Ghost at the River The Leonard J. Meiselman Memorial for Sculpture Award for Realistic Sculpture The Leonard J. Meiselman Memorial Louise Peterson, The Don Eckelberry Ken Rowe, Blue Heron Bella and the Bug Scholarship Award Award for a Realistic Sculpture executed Kelly Singleton The Mason Family Foundation Award in and Academic Manner The Donald R. Miller Interpretive Gerald Balciar, Sculpture Award Al Barnes, Lunch on Deck Pride The President’s Award Charles Allmond, Pre-Flight John Banovich, The Hiram Blauvelt Art Museum The Leonard J. Meiselman Memorial A Giant Among Giants Purchase Award Award for a Realistic Painting executed in The Evelyn and Peter Haller and Academic Manner Distinguished Young Artist Award James Coe, Spring Melt The Stanley Meltzoff Rachelle Siegrist, The Zookeeper’s Assistant Kyle Sims Memorial Award The President’s Award Kim Diment, Otter Confusion Nicholas Wilson, God’s Dogs 152 S o c i e t y o f A n i m A L A r t i S T S

Award Winners 1979-2010

The Don Eckelberry Scholarship Award 2002 The Evelyn and Peter Haller The Donald R. Miller Memorial Beatrice Bork Awards of Excellence Distinguished Young Artist Award Award for Interpretive Sculpture Charles Allmond, Joie de Vivre Edward Royal Leo Osborne, Song of the Pacific Northwest Carl Brenders, Trick or Treat 2003 Kenneth Bunn, Vantage Point The Bott-Borghi-Bransom Awards of Excellence Julie Chapman, Bare Naked Lady 2001 Legacy Award, Robert Kuhn Barbara Banthien, The Runway Simon Combes, Drought, Dust and Danger Awards of Excellence Joy Kroeger Beckner, Squirrel Season Matthew Hillier, Into the Light John Banovich, River Dance The Evelyn and Peter Haller Andrew Denman, Network Tony Pridham, Bobwhites Sunning Robert Bateman, Long Light—Polar Bear Distinguished Young Artist Award John Seerey-Lester, Mara River Horse Carl Brenders, Gleam of Gold Ryan D. Jacque John Schoenherr, Fox Hunt II Daniel Smith, River Horse Mark Eberhard, Ruddy Duck Daniel Smith, Zero Tolerance Morten Solberg, Elk on the Yellowstone Anthony Gibbs, Eye of the Stalker Nancy Howe, Inner Action 2000 The Hiram Blauvelt Art Museum The Hiram Blauvelt Art Museum Walter Matia, Bull Awards of Excellence Purchase Award Purchase Award Leo Osborne, Song of the Pacific Northwest Charles Allmond, Reunion Daniel Smith, Zero Tolerance Julie Chapman, Bare Naked Lady Jeremy Pearse, Along the Delta John Banovich, Eden Matthew Hillier, Into the Light Patricia Peppin, Spontaneous Generation Carl Brenders, Without Warning The Patricia Allen Bott Creative Sharon Sommers, Safety Patrol Burt Brent, Flying Mousetrap Excellence Award (Painting or Sculpture) The Patricia Allen Bott Creative Joseph Vance Jr., Moose and Old Beaver Dam Ian Coleman, Queen Conch & Francis Sweet, Eyes on the Prize Excellence Award (Painting or Sculpture) The Hiram Blauvelt Art Museum Spotted Dolphins John Seerey-Lester, Mara River Horse Purchase Award, Walter Matia, Bull Kayomi Harai, Midnight Run The Evelyn and Peter Haller Memorial Cole Johnson, Missed Opportunity Award for Sculpture The Evelyn and Peter Haller Memorial The Patricia Allen Bott Creative Leon van der Linden, Soft Feathers, Burt Brent, Rhino Award for Sculpture Excellence Award (Painting or Sculpture) Soft Branches Leo Osborne, Expecting to Fly Robert Bateman, Long Light - Polar Bear Tony Pridham, Paradise Lost The Evelyn and Peter Haller Rosetta, Alpha Pair Distinguished Young Artist Award The Elliot Liskin Representational The Evelyn and Peter Haller Patricia Savage, George Bathing at Hatteras Devin Laurence Field Painting Award Memorial Award for Sculpture Eric Thorsen, Green Sea Turtle Pair Anderson Yang, Mark Susinno, The Interloper Kent Ullberg, Ocean’s Silver Trumpeter Swans The Leonard J. Meiselman Memorial Sculpture Award Award for Realistic Painting The Hiram Blauvelt Art Museum Kenneth Bunn, Vantage Point The Elliot Liskin Representational Daniel Smith, Zero Tolerance Painting Award Purchase Award The Leonard J. Meiselman Memorial Jeff Gandert, Suburban Wilderness Kent Ullberg, Tree Shapers The Leonard J. Meiselman Memorial Award for Realistic Painting Sculpture Award Award for Realistic Sculpture The Elliot Liskin Memorial Award for Al Barnes, Whoopers Joy Kroeger Beckner, Good to See You Diane Mason, Charlie and the Bug Award for Realistic Sculpture Representational Painting Edward Aldrich Kent Ullberg, Solitude The Leonard J. Meiselman , Diana Monkey The Donald R. Miller Memorial Award Realistic Painting Award for Interpretive Sculpture The Leonard J. Meiselman Memorial The Donald R. Miller Memorial (executed in an academic manner) Tony Hochstetler, Award for Representational Painting Stacked Frogs Award for Interpretive Sculpture Carl Brenders, On the Journey Realistic Sculpture Award Jeremy Pearse, Indian Elephant Steve Kestrel, La Luna Don Eckelberry Scholarship Award (executed in an academic manner) Jose Portuondo The Leonard J. Meiselman Memorial The Bott-Borghi-Bransom Walter Matia, Bull Award for Representational Sculpture Legacy Award Joy Beckner, Marilyn Newmark A Good Life

153 S o c i e t y o f A n i m A L A r t i S T S

Award Winners 1979-2010

The Elliot Liskin Memorial Award for The Elliot Liskin Memorial Award for The Donald R. Miller Award for 1996 Representational Sculpture Representational Sculpture Interpretive Sculpture Awards of Excellence Pete Zaluzec, Bateleur Eagle Tim Shinabarger, Before the Rush Chapel, Spindrift Chris Bacon, White-Breasted Nuthatch Burt Brent, Reclining Sable The Donald R. Miller Memorial Award The Donald R. Miller Memorial Award Carel P. Brest van Kempen, Optimism for Interpretive Sculpture for Interpretive Sculpture 1997 John Felsing, Light in a Sylvan Field Burt Brent, Flying Mousetrap Ray Carbone, Lone Dove Awards of Excellence Tony Hochstetler, Lionfish and Sea Squirts Chris Bacon, Spring Nancy Howe, Lullaby The Patricia Allen Bott Award for The Patricia Allen Bott Award for John Banovich, White Rhino– Alan Hunt, Northern Majesty Creative Excellence Creative Excellence Blacksmith Plovers Ross Matteson, Predawn Quail Carl Brenders, Without Warning Mae Rash, Red-winged Blackbird Carel P. Brest van Kempen, Orangutan Calvin Nicholls, Hawkeye & Asian Elephants Leo Osborne, The Berry Pickers The Evelyn and Peter Haller Memorial Tim Cherry, Hare Ball Emily Parkman, Tomato Worm Award for Sculpture 1998 Ian Coleman, Little Blue Heron Andrea Rich, Ravens in Hemlock Walter Matia, Heron Awards of Excellence Mark Eberhard, Newfound Gap Robin Michael Riddet, Dynamics Jodie Adams, Who’s Going First? Anthony Gibbs, Punchy Dee Smith, Le Roi Soleil Charles Allmond, Hindsight Bob Guelich, Fishing Rock Francis Sweet, Twilight II 1999 Chris Bacon, Long Billed Curlew Matthew Hillier, Snow Leopard Family Kent Ullberg, Ring of Bright Water II Awards of Excellence Peter Brooke, Relaxing Bear Leo Osborne, Atlantic Evening Paula Waterman, Pelican Pair Joy Beckner, Dreaming of Tomatoes Trey Finney, Scarlet Flight Leon Parson, Black Hole Bull The Hiram Blauvelt Art Museum Carl Brenders, Fireball Matthew Hillier, Lion Siesta Jeremy Pearse, Sarus Crane Purchase Award Charles Allmond, Northern Sphinx Steve Kestrel, Jumpin Jack Flash Walt Matia, Wild Turkeys Terry Miller, Dansereye—Ostrich Robert Kuhn, Down to the Scraps The Hiram Blauvelt Art Museum Ross Matteson, Quail Call Walter Matia, Nothin’ But a Hound Dog Purchase Award Activities Press Print Award Leo Osborne, Ancient Traveler George McMonigle, Trevor Reneé Headings, Soul of Africa John Banovich, 104th Congress Jeremy Pearse, Black Kite Lanford Monroe, Winter Chill Wayne Trimm, Menu, Jackrabbit Mae Rash, Red-Winged Blackbird Richard Sloan, The Wild Bunch Wildlife Art Magazine Award Wildlife Art Magazine Award Paula Waterman, Spot of Sun Francis Sweet, Sun Worshippers John Banovich, The Defensive Line Dee Smith, Le Roi Soleil Nancy Darling, Bear—Alaskan Malamute Anderson Yang, Winter Guy Coheleach, Leopard Lookout II The Leonard J. Meiselman Memorial The Leonard J. Meiselman Memorial The Hiram Blauvelt Art Museum Award for Realistic Sculpture Award for Realistic Sculpture The Hiram Blauvelt Art Museum Purchase Award Richard Clopton, Leap Frog Walt Matia, Wild Turkeys Purchase Award Lanford Monroe, Winter Chill Terry Miller, Dansereye The Elliot Liskin Memorial The Elliot Liskin Memorial The Leonard J. Meiselman Memorial Award for Painting Award for Painting The Elliot Liskin Memorial Award Award for Realistic Sculpture Dino Paravino, Contented Mother Chris Bacon, Light Waves for Painting Walter Matia, Nothin’ But a Hound Dog David Rankin, In the Heat of the Day The Elliot Liskin Memorial The Elliot Liskin Memorial The Elliot Liskin Memorial Award for Sculpture Award for Sculpture The Leonard J. Meiselman Memorial Award for Painting Reneé Headings, Soul of Africa Robert Glen, Lioness Chasing Vulture Award for Representational Painting Guy Coheleach, Sunspots Andrew Young, Bathing The Donald R. Miller Award for The Elliot Liskin Memorial Interpretive Sculpture The Donald R. Miller Award for Interpretive Sculpture The Leonard J. Meiselman Memorial Award for Sculpture Didier Debruyne, Gotcha Leo Osborne, Award for Representational Sculpture Joan Binney Ross, Bearritz The Berry Pickers Pati Stajcar, Glory

154 S o c i e t y o f A n i m A L A r t i S T S

Award Winners 1979-2010

1995 Bennington Center for the Arts Purchase The Leonard J. Meiselman Award The Elliot Liskin Award for Awards of Excellence Award & Activities Press Print Award for Representational Art Representational Sculpture Burt Brent, Barnyard Watchdogs Dee Smith, Silver Glen Sunset Walter Matia, Cranes Eric Berg, Green Sea Turtle Guy Coheleach, Victoria Falls—Lilac Breasted Roller Wildlife Art News Award The Elliot Liskin Award for The Donald R. Miller Award Ulco Glimmerveen, European Tree Frogs Greg Beecham, Morning Glory Representational Painting for Interpretive Sculpture Nancy Howe, Little Melody Liz Lesperance, The Watering Hole Patrick Bremer, Tiger Beetle Walt Matia, English Pointer The Leonard J. Meiselman Award Terry Miller, Over the River and for Representational Art The Elliot Liskin Award for The National Tour People’s through the Woods Mary Taylor, The She Wolf Representational Sculpture Choice Award Leo Osborne, Desert Watcher Sherry Sander, Foxes on the Bayou Charles Fracé, Reflections Hank Tyler, Resting for the Day The Elliot Liskin Award for Anthony Gibbs, A Bachelor’s Life Sue Westin, Holy Ground Representational Painting The Donald R. Miller Award for Activities Press Print Award Carel Pieter Brest van Kempen, Interpretive Sculpture Arnold Nogy, Narrow Escape Gripping Tail Steve Kestrel, Trickster 1991 Awards of Excellence Wildlife Art Magazine Award The Elliot Liskin Award for The National Tour People’s Robert Bateman, Homage to Ahmed Randal Dutra, In His Domain Representational Sculpture Choice Award Paul Bosman, Five O'clock Shadow Cammie Lundeen, Buds Carl Brenders, One to One Tony Hochstetler, Rhinoceros Beetle The Leonard J. Meiselman Award Laurence Isard, Water Bears for Representational Art The Donald R. Miller Award for The Hiram Blauvelt Art Museum Leo E. Osborne, Watching My Dwayne Harty, Algonquin Wolves Interpretive Sculpture Purchase Award & SAA Members Brothers Pass The Elliot Liskin Award for Burt Brent, Glacial Courtship Choice Award David Rankin, The Green Pool Representational Painting Dennis Anderson, Glutton Don Ray, Three Bonefish and Crabs Bob Kuhn, Helter Skelter The Hiram Blauvelt Art Museum Joan Hagen Ross, In Clover Purchase Award Francis E. Sweet, The Stretch The Elliot Liskin Award for John Schoenherr, Early Risers 1992 Representational Sculpture Awards of Excellence Elliot Liskin Memorial Award Richard Loffler, Savannah SAA Members Choice Award Chris Bacon, Snake Bird for Interpretive Sculpture Burt Brent, Glacial Courtship Dan D’Amico, Waiting Game Tony Hochstetler, Rhinoceros Beetle The Donald R. Miller Award for Anne Faust, El Cusingo Interpretive Sculpture The National Tour People’s Choice Award Robert Kuhn, Cool, Cool Water The Elliot Liskin Award for Leo Osborne, Desert Watcher Carl Brenders, Mother of Pearls Walter Matia, Otter Fountain Representational Painting Stanley Meltzoff, Swordfish & Mako Paul Bosman, Five O'Clock Shadow Joan Hagen Ross, River Runners 1994 1993 Lindsay Scott, Threatening Skies Leonard J. Meiselman Award Awards of Excellence Awards of Excellence Francis E. Sweet, The Stretch Chris Bacon, Stone Chat Chris Bacon, Orinoco Goose Study Activities Press Print Award Carl Brenders, Rocky Camp Carl Brenders, One to One David Rankin, Queen of the Marsh The Donald R. Miller Memorial Award Carel Pieter Brest van Kempen, Dwayne Harty, Otter Leo E. Osborne, Watching My Gripping Tail Leo E. Osborne, Ancient Storyteller The Leonard J. Meiselman Award for Brothers Pass Richard Loffler, Greyhound Representational Art Judi Rideout, Close Encounters Activities Press Print Award Jim Landenberger, Don’t Tread on Me 1990 John Seerey-Lester, Phantoms of the Tundra Nancy Howe, Water Music Awards of Excellence Sue Westin, Mangrove Rose The Elliot Liskin Award for Robert Bateman, Bald Eagle Study, Series I Wildlife Art News Award Representational Painting Paul Bosman, Brief Encounter Nancy Howe, Water Music Sue Westin, In the Tracks of Man Paul Bosman, High Noon 155 S o c i e t y o f A n i m A L A r t i S T S

Award Winners 1979-2010

Simon Combes, Tension at Dawn Elliot Liskin Memorial Award 1984 1980 Donald R. Miller, Africa Charles Allmond, Dance of Life Awards of Excellence Awards of Excellence Daniel Ostermiller, Camille Nina Akamu, Fighting Lions Lesia Anson Dino Paravano, Cheetah with Cubs Gerald Balciar, Arctic Reunion Robert Bateman David Rankin, Sarus Cranes at Dawn 1987 Guy Coheleach, Brightwaters Creek Kenneth Bunn Donald Sible, Methuselah Awards of Excellence Bard Cosman, Royal Red Macaw John Clymer Richard Sloan, Amazon Backwater Charles Allmond, Fred and Ethel Bob Kray, Lonely Quest Randy Dutra W. Richard Stiers, Rascals Paul Bosman, The Observers Sherry Sander, Shore Patrol Robert Kuhn Elliot Liskin Memorial Award Alan Hunt, A Gathering of Swallows J. Kent Ullberg, Double Header Terry Matthews Donald Sible, Methuselah Lars Jonsson, Red-Winged Blackbird Stanley Meltzoff Morten Solberg, At the Forest Edge C. E. Monroe, Jr. Donald R. Miller Memorial Award Natalie Surving, Guido 1983 J. Kent Ullberg Rosetta, Panther J. Kent Ullberg, Double Header Awards of Excellence Scott Woolever Monument Dennis Anderson, Fishing Tackle 1979 Leonard J. Meiselman Award Sue Westin, Among the Feeding Stones Guy Coheleach, Siberian Chase Awards of Excellence Simon Combes, Tension at Dawn Shane Dimmick, Teddies Robert Bateman B. J. Martin, Zarafah Guy Coheleach 1989 1986 Jim Morgan, Flooded Field Robert Kuhn Awards of Excellence Awards of Excellence Diane Pierce, Zebra Duikers J. H. Matternes Gerald Balciar, Puddle Jumper Douglas Allen, An Early Winter Joseph Sheppard, Rabbits C. E. Monroe, Jr. Beverly Bender, Seldom Seen Gerald Balciar, Lucy Nico Vosloo, Etosha Dawn John Pitcher Patrick Bremer, Cricket Hunter Robert Bateman, Grizzly Sherry Sander Carl Brenders, Talk on the Old Fence Edward Bierly, Fox on the Run 1982 John Schoenherr Donald Grant, Jaguar and Cubs Joan Hagen, Everglades Newborn Awards of Excellence Keith Shackleton Alan Hunt, Gone But Not Forgotten Alan Hunt, Snow Leopard Gerald Balciar Morten Solberg Rob Maclntosh, Shear Grace Walter Matia, Marsh Masters Lawrence Braun J. Kent Ullberg Larry Norton, Sultry Day—Zambesi River Sherry Sander, Kudu Elliot Liskin Memorial Award Morten Solberg, Monarch of the Sky Lee Cable Donald Sible, Big Al Natalie Surving, Iguana Iguana Guy Coheleach Rhinotopia Joseph Fornelli Donald R. Miller Memorial Award Charles Fracé Nancy Blauers, Macaws 1985 Frank Gee Awards of Excellence J. Kent Ullberg Dennis Anderson, Lyin' in the Sun 1988 Dennis Anderson, Missing Lunch Awards of Excellence Patrick Bremer, Hellgramite 1981 Eric Berg, Toad Guy Coheleach, Raritan Fox Awards of Excellence Carl Brenders, The Long Distance Beverly Bender Hunters Richard Keane, Angora Raymond Ching Esther Lidstrom, Elephant Charge Robert Kuhn, A Fondness for Water Guy Coheleach Leo & Lee Osborne, Waterline Lanford Monroe, Fourth Morning Robert Guelich Robert Salo, Mountainside Bugler Leo and Lee Osborne, Aerialist Robert Kuhn Sherry Sander, American Bison Natalie Surving, Monitor Lizards Alderson Magee Morten Solberg, Arctic Nomads John Schoenherr, Canadienne David Plank Craig Wilson, Eagle

156 ArtAND THE ANIMAL

The Headquarters of THE SOCIETY OF ANIMAL ARTISTS, INC. is located at The Salmagundi Club in New York, NY

For membership information, contact:

SOCIETY OF ANIMAL ARTISTS, INC. Colorado Business Office 5451 Sedona Hills Drive Berthoud, Colorado 0513 (970) 532-1489; [email protected] Wedsite: societyofanimalartists.com Exhibition can be viewed at www.societyofanimalartistsmuseum.com

Art and the Animal is available for display at art, cultural, and scientific institutions.

For tour information, contact:

DAVID J. WAGNER, L.L.C., ART AND THE ANIMAL TOUR OFFICE (414) 221-6878; [email protected] David J. Wagner, Ph.D., Tour Director american-wildlife-art.com davidjwagnerllc.com

MEMBER

Designed & Produced by David Rankin Graphics, Cleveland, Ohio, USA • [email protected] 157