ArtAND THE ANIMAL

2009 The Society of Premiere Animal Artists Rolling Hills Wildlife Adventure 49th Annual September 5–November 1, 2009 Exhibition & 625 N. Hedville Road, Salina, KS Art & the (785) 827-9488; rollinghillswildlife.com Animal Tour Dual Tours Half of the 2009 Annual Exhibition Half of the 2009 Annual Exhibition 2009-2010 will tour to: will tour to: The Wildlife Experience Dunnegan Gallery of Art November 21, 2009–February 21, 2010 March 14–April 16, 2010 10035 South Peoria , Parker, CO 511 N. Pike Avenue, Bolivar, MO (720) 488-3300; thewildlifeexperience.org (417) 326-3438; dunnegangallery.com

Arizona-Sonora Desert Ward Museum of Wildfowl Art Museum Art Institute Salisbury University March 27–June 27, 2010 May 14–July 18, 2010 2021 N. Kinney Road, Tucson, AZ 909 S. Schumaker Drive; Salisbury, MD (520) 883-2702; desertmuseum.org (410) 742-4988; wardmuseum.org In conjunction with the 40th Anniversary Ward Greenacres Arts Center World Championship Wildfowl Carving Competition Roland E. Powell Convention Center, Ocean City, MD, August 21–October 31, 2010 April 23-25, 2010 8400 Blome Road, Cincinnati, OH (513) 793-2787; green-acres.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

Member,

Copyright © 2009 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

ArtAND THE ANIMAL

49th Annual Members Exhibition

Premiere Rolling Hills Wildlife Adventure Salina, Kansas September 5–November 1, 2009

Society of Animal Artists • 47 Fifth Avenue • New York, New York • www.societyofanimalartists.com • societyofanimalartistsmuseum.com Colorado Business Office • 5451 Sedona Hills Drive • Berthoud, Colorado 80513 • (970)532-3127 M e ssa ge from the Pre s ident of the Society of Anim a l A r t i s t s

The Society of Animal Artists is world in the arts. Our artists work in a myriad of mediums and styles, yet thrilled to open the 49th Annual all share the same dedication to excellence in their portrayal of the animals Exhibition of Art and the Animal at that share our planet. And you never know what subject matter may turn up the Rolling Hills Wildlife Adventure in one of our exhibitions! Our artists are inspired by the big and impressive in Salina, KS. We are excited about mammals, and the birds which bring so much joy and beauty to our world this great opportunity to bring our —but every exhibition also contains works which feature insects, domestic work to an entirely new audience in livestock, reptiles and amphibians, and marine life… a veritable showcase of

Diane Mason, SAA President Kansas, and the many visitors from this world’s diversity. We respect and appreciate all forms of life, and that all over the country who will stop theme is expressed every time one of our members creates a work of art. by this wonderful venue to experience their accredited zoo and museum while our exhibition is on display. Our members and patrons who attend the The 49th Annual Art and the Animal exhibition and the publication of this opening weekend events will have a delightful time enjoying the menagerie catalog were made possible with the contribution of many people. On behalf and visiting with the attentive staff of Rolling Hills. Thanks to the excellent of the Society of Animal Artists, I would like to thank Kathy Tolbert and the work of Tour Director David J. Wagner, Ph. D., at the close of our exhibition staff at Rolling Hills Wildlife Adventure for giving us this opportunity to at Rolling Hills on Nov. 1, we have two wonderful tours lined up for the bring our exhibition to their outstanding facility. David and Deanna Rankin artworks in this year’s exhibition. For the first time ever, half of the works also deserve our special thanks for putting this beautiful catalog together for will be sent on one tour, while the other half will be on display at exciting us. And David J. Wagner, Ph. D., our tour director, deserves our gratitude alternative venues. for finding such excellent venues for our exhibition and Art and the Animal tour each year, and giving so many people around the country the opportu- It is a genuine privilege to be able to serve this outstanding group of art- nity to enjoy the important work of our members. ists as the President. I am continually amazed, and humbled, by the quality of the work being produced in all mediums, and as I get to know more of our members personally—I am honored to call them friends. These people are incredible human beings in addition to being remarkable artists. Many Diane Mason President of them give generously of their time and talents to promote the cause of Society of Animal Artists conservation or animal welfare. Others teach, or mentor young and aspir- ing artists who hope to follow in their footsteps… and celebrate the natural

4 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 Zoological 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 487 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, semi- nars, lectures and exhibitions.

Officers

Diane Mason Marilyn Newmark Jay Johnson President Vice President Secretary

Douglas Allen Allen Blagden Reneé Headings-Bemis Vice President Vice President Treasurer

Executive Board

Charles Allmond Leslie Delgyer John Ruthven John Banovich Stephen Quinn Joseph D. Swaluk Eric Berg David Rankin Wayne Trimm Jim Coe Paul Rhymer Joseph Vance, Jr. Nancy Darling Joan Binney Ross

Executive Board Advisory Committee

Janet Heaton Dorcas MacClintock Harriet Phillips Laney Bob Mason Francis E. Sweet

5 R o l l i n g H i l l s Wildlife Adventure The Premiere

Rolling Hills Wildlife Adventure is honored to host the 49th Annual Rolling Hills Wildlife Adventure is excited to be only the second AZA (As- Members Exhibition of the Society of Animal Artists Art and the Animal. sociation of Zoos and Aquariums) accredited zoo to host the premiere show Founded in 1994, the zoo at Rolling Hills was created amidst the rolling of Art and the Animal. In conjunction with the event, Rolling Hills has hills of the beautiful Kansas prairie. The zoo first opened its gates to the partnered with many area businesses and cultural organizations to bring a public in 1999. Today the zoo is home to more than 100 species of animals, broader focus to wildlife and art over a five month period. Salina is a com- including many that are listed as threatened or endangered. During the time munity rich in the arts and our partners are eager to work together to truly Art and the Animal is on exhibit, Rolling Hills Zoo will celebrate its 10th make this a community event. anniversary. Rolling Hills Wildlife Adventure welcomes the art and artists of the Art and In 2005, Rolling Hills added a 64,000 sq. ft. Wildlife Museum. A truly the Animal exhibition. What better way to celebrate our 10th anniversary unique experience, visitors enjoy a trip through seven regions of the world than by hosting an exhibit of spectacular wildlife art while expanding our while viewing animals in life-like dioramas. Animatronic robots and ambi- educational message of the importance of wildlife conservation. ent sounds help complete the immersive experience. Also located within the museum building are a Conference Center, children’s play area, and a 2,000 —Kathy Tolbert sq. ft. gallery which features exhibits ranging from fine art to antique wagons. Director

6 T h e A r t a nd the Anim a l T o u r

The Society of Animal Artists is an organization comprised and Gail Liniger, founders of The Wildlife Experience, and its of members who produce the best animal art in the world. staff, for hosting Art and the Animal along with Small Works— Consequently, The Annual Exhibition of The Society of Big Impressions, on an on-going basis. Thanks to Arizona-Sonora Animal Artists and its traveling exhibition, Art and the Animal, Desert Museum Art Institute Director, Susan T. Fisher, her have become the standard by which all others are measured. colleagues, and patrons Michael C. and Priscilla V. Baldwin, for host- ing Art and the Animal yet again. Thanks also to everyone at Greenacres This year, the Society’s Annual Exhibition is being hosted by Rolling Hills Arts Center, particularly its Director, Dr. Jackie Quay, and SAA member, Wildlife Adventure, an “edutainment” campus comprised of an accredited John Ruthven and former Director of the Cincinnati Museum of Natural zoo, museum, conference center, and theater in Salina, Kansas, which marks History, DeVere Burt, for their combined effort and success in bringing Art the first time our Annual Exhibition has premiered in that state. Follow- and the Animal to Cincinnati for the first time. I continue to be indebted to ing its premiere in Kansas, one half of the annual exhibition will be shipped Jo Roberts, Director of The Dunnegan Gallery of Art not only for schedul- to Parker, Colorado, for display at The Wildlife Experience in conjunction ing Art and the Animal in 2010, but also for years to come. And I wish to with Small Works—Big Impressions, a special pre-Christmas Society of Ani- express my particular appreciation to Lora Bottinelli, for her role in bringing mal Artists holiday sales exhibition. Art and the Animal then continues to Art and the Animal back to the Ward Museum of Wildfowl Art where it was Tucson, where it will be displayed at the renowned Arizona-Sonora Desert last displayed in 1995, as the museum now celebrates its 40th Anniversary Museum, and then on to Greenacres Art Center, which occupies an Eng- Ward World Championship Wildfowl Carving Competition in 2010. lish Norman style manor house and is operated under the auspices of The Greenacres Foundation in Cincinnati. I would also like to express my deep appreciation to the new President of the Society of Animal Artists, Diane Mason, who like her predecessors, While half of the 2009 Annual Exhibition is traveling to Arizona, Colo- has performed her duties with the commitment, enthusiasm, and flair of a rado, and Ohio as explained above, the other half will be shipped to the true leader, and her husband Bob, who has devoted so much of his time to Dunnegan Gallery of Art, in Bolivar, Missouri, another regular Art and the the administration of the organization. Finally, I want to thank all members Animal tour venue. That exhibition will then continue on to the Ward of the Society of Animal Artists. Your artwork and participation are Museum of Wildfowl Art in Salisbury, Maryland, near Chesapeake Bay, what make The Annual Exhibition of The Society of Animal Artists and its where it will be displayed during the 40th Anniversary Ward World traveling exhibition, Art and the Animal, the standard by which all others are Championship Wildfowl Carving Competition at the Roland E. Powell measured. Thanks as always for the opportunity to work with you and share Convention Center, in Ocean City. your art with audiences nationwide.

As tour director, I wish to thank the entire Rolling Hills Wildlife Adventure organization, especially its Director, Kathy Tolbert, for her role in hosting —David J. Wagner, Ph.D. the 2009 Annual Exhibition. I wish to express my deep appreciation to Dave Tour Director

7 I n M e m o r i a m

Joseph Halko Resided: Montana, USA 1940–2009

Forty Winks Bronze 21 x 16 x 7

8 I n M e m o r i a m

Joseph Halko Resided: Montana, USA 1940–2009

Curious Greeters Bronze 21 x 16 x 7

9 I n M e m o r i a m

Larry Isard Resided: Ohio, USA 1932-2009

Night Life

10 I n M e m o r i a m

Lawrence Isard Resided: Ohio, USA 1932-2009

Gothic Twilight

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

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

Membership

The membership roster of the Society of Animal Artists The applicant’s work is evaluated for: reads like a “Who’s Who” of the world’s most significant • good composition/design, artists working in the genre of animal art today—and • thorough understanding of animal anatomy, behavior, during the past forty-nine years. and environment, • a distinctive style and Membership is coveted by leading painters and sculptors • mastery of their chosen art medium. around the globe, and just being accepted as a member of this esteemed organization is a real achievement. Only those artists who have attained the highest levels of artistic achievement are offered the opportunity to be- Artists wishing to become members must submit five im- come members of the SAA. ages of what they consider to be their best work to the SAA Membership Jury for consideration. Twice a year, in There are three levels of Membership for artists: April and November, the Membership Jury (comprised • Master Signature Members of nine respected and accomplished Signature members) • Signature Members meets to review these images. • Associate Members

12 Society of Anim a l A r t i s t s

SAA Master Signature Artists Charles Allmond • Chris Bacon • Gerald Balciar • Robert Bateman • Carel Pieter Brest van Kempen Guy Coheleach • Walter Matia • Leo Osborne • Morton E. Solberg • Kent Ullberg

Master Signature Members Signature Members Associate Members

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 achieved the highest level of artistic achieve- organization and may participate in all exhibi- of respect for their exceptional artistic achieve- ment. They are eligible to serve on the -Execu tions, and are eligible to win awards. ments in the world of animal art. tive Board or as officers of the organization, may vote in elections, serve on juries, and may use the They are however not yet eligible to vote, serve on In order to achieve the Society’s highest level SAA initials after their signatures. juries or in the operation of the organization, or use of distinction as a “Master,” an SAA Signature the SAA initials after their signatures. Member must have received at least five (5) Awards of Excellence in our annual exhibitions Associate Members may obtain Signature over the years. status by:

Their artwork for each year’s Annual Exhibition 1) winning an Award of Excellence in one of the no longer has to be submitted to the selection jury. Annual Exhibitions, It is automatically accepted. 2) being juried in to three (3) Annual Exhibi- We are honored to have these artists as participat- tions, or ing members of the Society of Animal Artists, and it is always a privilege to have their work repre- 3) by submitting five new images of one’s work sented in our exhibitions. to the Membership jury for review, with a re- quest for promotion to Signature Status. 13 Art and the Animal

Society of Animal Artists’ members represented in the 49th Annual Exhibition.

Entire membership listed on page 136.

Art and The Animal

Society of Animal Artists’ members represented in the Beverly S. Abbott Kim Diment Diane Mason Lindsay Scott 49th Annual Al Agnew Paul Dixon Walter Matia Robert Seabeck Exhibition John Agnew Mick Doellinger Ross Matteson Cathy Sheeter Entire membership Edward Aldrich Dawn Emerson Sally Maxwell Rachelle Siegrist Charles Allmond Leslie Evans Jan Martin McGuire Wes Siegrist listed on page 138 Tom Altenburg Anne Faust Gregory McHuron Kelly Singleton William Alther Susan Fox Darin Miller Morten Solberg Paul Apps Sharon Fullingim Ken Newman Lyn St. Clair Chris Bacon Jeff Gandert Marilyn Newmark Eva Stanley Gerald Balciar Daniel Glanz Alison Nicholls Debbie Stevens John Banovich Robert Glen James Offeman Mark Susinno Robert Bateman Grant Hacking Munenori Okada Francis Sweet Julie Bender Lorna Hamilton Leo Osborne Fred Thomas Eric Berg Matthew Hillier Dino Paravano Jan Thomas Sally Berner Cary Hunkel Leon Parson Debra Trent Linda Besse Leslie Hutto Patricia Pepin Kent Ullberg Thomas J. Bishop Wes Hyde Louise Peterson Marlowe Urdahl Allen Blagden Jay Johnson Harriet Phillips Diane Versteeg Sandra Blair Richard Jones John Potter Dale Weiler Burt Brent Karryl Justin Prigmore Susan Westin Carel Brest van Kempen Christine Knapp Randy Puckett W. Leon White George Bumann John Kobald David Rankin Timothy Widener Dan Burgette Kim Kori Paul Rhymer Kay Williams Dan Chen Susan Labouri Andrea Rich Steve Worthington James Coe Laney Martiena Richter Keri Young Guy Coheleach Brent A. Langley Rosetta Aaron Yount Juan Pablo Z. Cornejo Rod Lawrence Linda Rossin Anni Crouter George Lockwood Ken Rowe In Memoriam Nancy Darling Anne E. London John Ruthven Joseph Halko Darrell Davis Dorcas MacClintock Sherry Salari Sander Lawrence Isard Andrew Denman Roger Martin Laurence Saunois Sue Dickinson Jeanette Martone Sharon Schafer

14 Society of Anim a l A r t i s t s

ArtAND THE ANIMAL

2009

49th Annual Members Exhibition

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.

15 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Beverly Abbott The elongated rectangle of this painting was chosen lief of a cascading spring. The use of Ivorine as the Resides: Newport News, to enhance the extended trunk of the elephant. I painting surface aids the illusion, as the synthetic Virginia was intrigued by the play of light and warm cast substitute for ivory is translucent, giving the thinly b. 1940, North Carolina, USA shadows over the surface of the uneven rock. The painted surface the appearance it is glowing. main colors of burnt sienna and raw sienna give A Long Drink the sensation of a hot dry day with the welcome re- Elephant Oil on Ivorine 3.5 x 7.5 16 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

For a wildlife artist, it’s rare that a scene presents wreathed mountains in the distance and the warm Al Agnew, SAA itself that is so perfect and so impressive that it de- light bathing the buffalo are shown just as I experi- Resides: Ste. Genevieve, Missouri serves to be painted just as it is. That was the case enced it that evening. The painting is my interpre- b. 1952, Missouri, USA when I saw these bison along the Gros Ventre River tation of that moment in time. in Grand Teton National Park. The great cloud- Home of the Free Bison Acrylic, 30 x 48

17 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

John Agnew, SAA The texture of crocodilians is perfect for farm in Thailand. The intense stare of Resides: Cincinnati, Ohio scratchboard. I couldn’t resist this New crocodilians always reminds me of their b. 1952, Ohio Guinea crocodile, who I met at a croc latent power.

New Guinea Crocodile Scratchboard 8 x 10

18 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I have always been fascinated by rocks; their tex- goat was an easy pick for a focal subject for these Edward Aldrich, SAA tures, shapes, colors and the way light plays upon surroundings, as it is so suited for the environment. Resides: Golden, Colorado them. The majority of this painting was painted on The painting really is about light. b. 1965, New York, USA location in Colorado so I could get the subtle colors of the light playing upon the rocks. The mountain Life on the Rocks Mountain goat Oil, 16 x 12

19 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Charles Allmond, SAA There are many technical problems facing a stone but simply to convey the idea of flight. This has Master Signature Member sculptor in depicting birds. Stone is heavy and been accomplished through the attitude of the bird Resides: Wilmington, Delaware brittle and decidedly un-birdlike. Here the chal- on its base and the placement of the diagonal pat- b. 1931, Delaware USA lenge was to create the illusion of a bird in flight. tern in the stone. There was no intention to make a realistic bird Flight of Fancy Bird in flight Utah Alabaster, Walnut 13.5 x 17 x 7 20 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Bill is an older Belgian draft horse from the K Bar J striped face. His right eye was covered by his wind- Tom Altenburg, SAA Ranch in Pleasant Hill, Missouri. He was about to blown mane, so I placed his left eye near the center Resides: Raymore, Missouri be hitched up to a wagon along with his partner for of the painting to be the focal point. The harness b. 1958, Kansas City, Kansas a living history parade. provided me with some great lines and textures. I wanted most to capture the features and personality Bill Bill is a beautiful and powerful, yet mild-tempered of his face. Draft horse Acrylic horse. I was particularly attracted to his vivid white 11.75 x 8.75

21 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

William Alther, SAA River otters just might be the most fun-loving ani- In this painting, they are taking a break and relax- Resides: Denver, Colorado mals on earth. Highly energetic and playful, they ing for a few minutes before sliding back into the b. 1959, Kansas, USA don’t sit still for long. When not occupied with the water. necessities of eating and sleeping, they are playing. Brief Respite River otters Oil, 20 x 30

22 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

When you speak of Namibia and in particular is about the light, the colour and atmosphere of Paul Apps, SAA Etosha National Park, people think of the dry deso- Africa. My lion sits without shade in the prevail- Resides: Kent, England late salt pan that is Etosha. The scene evokes a won- ing heat, taking a drink, waiting for the relief of b. 1958, England derful sense of desolation. “Out of the Pan” is the a setting sun. I hope you agree that I fulfilled my second of two studies where I have tried to capture ambition to portray the scene. Out of the Pan II the raw ingredients of this vast uninviting location. Lion at Etosha Oil on canvas, 10 x 20 Okindeka’s pride of lions is well-known. My work

23 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Chris Bacon, SAA When observing birds through a scope, one tends otherwise be overlooked. Here, the relationship Master Signature Member to get up close and personal. A kind of intimacy between bursting bubbles and a sleep deprived Resides: Burlington, develops; you start to notice subtleties that would Sandpiper wasn’t going well. Ontario, Canada b. 1960, Watford, England

Western Sandpiper Watercolor 11.5 x 7.5 24 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

“Burst of Spring” is all about the happy time in the Gerald Balciar, SAA spring when the birds arrive from their winter range Master Signature Member in the south. They all seem to be so happy, singing their Resides: Parker, Colorado b. 1943, Wisconsin, USA hearts out, while performing their courtship rituals. The birds appear to be celebrating while they pick out Burst of Spring a mate and find a nesting site. Scissortail flycatchers Bronze 21.5 x 10 x 10 25 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

John Banovich, SAA Polar bears are one of my favorite subjects to paint, armature of fat and fur, their anatomy is unique Resides: Livingston, Montana but most difficult to research. Living primarily on ice from all other bears. And when they curl up to take b. 1964, Montana, USA they behave more like marine mammals than bears. refuge from a storm, this enormous carnivore looks as Hunting seals out on the arctic ice, they live in some cuddly as a teddy bear. Shelter from the Storm of the most inhospitable environments on earth—for Polar bear which they are perfectly adapted. Covered in a thick Oil on linen, 11 x 14

26 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I saw this domestic scene in Yellowstone Park. The two Robert Bateman, SAA elk together made a wonderful sculptural shape. The neg- Master Signature Member ative spaces between them enhanced the sense of design. Resides: Salt Spring Island Because I see the image as a sculpture I felt that the most British Columbia, Canada fitting medium would be a large canvas with graphite b. 1930, British Columbia, Canada drawing and a simple white background. Elk - Cow and Calf Graphite on canvas 48 x 48 27 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Julie Bender Clever and evasive, the coyote’s extraordinary he is represented only with tone and value in order Resides: St. Louis, Missouri ability to adapt to change in varied environmen- to distinguish shape, form and texture. As I “paint b. 1957, Missouri, USA tal conditions makes him a consummate survivor. with heat,” I feel a certain parallel between the wild Captivated by this animal’s calm and calculating and natural spirits that inspire and embody my On the Alert demeanor suggesting his next diversion, I sought to subjects and the organic and distinctively exigent Coyote capture his grandeur in compelling detail. Because nature of my medium. Pyrography color is not present in this pyrographic depiction, 18 x 16

28 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

The “Japanese Giant Salamander” sculpture was The medium, polyester resin, provided the dura- Eric Berg, SAA originally commissioned by the Smithsonian bility, textural quality, and coloration possibilities Resides: Philadelphia, National Zoo in 2006 for their Asian Trail Exhib- necessary for such a unique creature. Its surface is as Pennsylvania it. This second casting was done in response to the tough as the finish of an automobile. b. 1945 Pennsylvania, USA totally unexpected reception the salamander has received. The five foot length is actual life-size. Japanese Giant Salamander Polyester resin 6 x 54 x 16

29 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Sally Berner I had frequently driven past and admired this Her name is Cecelia, C.C. for short, and you can Resides: Green Bay, Wisconsin adorable Shetland pony and, on this particular see the dense double winter coat of this hardy Shet- b. 1945, Wisconsin, USA winter day, she looked especially beautiful against land Isles breed. That is why I decided to entitle my the sunlit snow. The warm colors in her coat were a painting “Winter Coat”. Winter Coat wonderful contrast to the cools in the shadows and Shetland pony the snow and I knew this was how I wanted to paint Oil, 18 x 18 her.

30 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

The North Island Kaka in New Zealand is a seem dull at first glance, when they lift their wings, Linda Besse, SAA brush-tipped-tongue parrot. A bird of relatively a fiery red/orange array of feathers dazzles the eye. Resides: Mead, Washington ancient origin, it inhabits old forests but will visit However, it was their interaction with each other b. 1959, Pennsylvania, USA orchards and even suburban gardens outside of the which inspired this painting. breeding season. I had a chance to see them in the Forest Whispers Kaka wild on the North Island. While their coloring may Oil, 24 x 22

31 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Thomas J. Bishop Sitting on the wheel of an antique wagon at Loose country denizen, a Steller’s jay, flew up. Like most Resides: Scottsdale, Arizona Arrow’s Nursery in Lake City, Colorado, is an jays, they are brazen raiders of camp grounds and b. 1940, Iowa, USA old weathered saddle. It had caught my eye sev- picnic tables. This one had just grabbed a piece of eral times and I knew in my heart that it was a popcorn from a table at Poker Alice’s, a near-by res- Lucero’s Saddle painting waiting to happen, my dilemma was that taurant, and its timely arrival instantly completed Steller’s jay somehow it needed a wildlife connection. Then one the painting in my mind. Acrylic, 21.6 x 30 day, as I was again viewing the saddle, a high

32 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

“Evening Shallows” was painted in watercolor dry. I spent many summers in the Adirondacks and Allen Blagden, SAA with primarily small brushes, except for the dark would often see deer wading at the edge of the lake, Resides: Salisbury, Connecticut areas which are done with a wash over the lily pads actually feeding on the lily pads. I tried to capture b. 1938, New York, USA that have been already blocked out with Mascoid, a feeling of backlighting as dusk is descending, the a rubber coating that peels off when the paint is wind has died down, and the world is at peace. Evening Shallows Whitetail deer Watercolor, 22 x 30

33 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Sandra Blair, SAA Red fox are distributed throughout the world fox inspired this painting. The fox was photo- Resides: Harrisburg, Pennsylvania and have adapted to many different environ- graphed on an overcast day, so I decided a night b. 1953, Pennsylvania, USA ments. They move swiftly and quietly and hunt scene would add more drama and depict the both day and night. The bright orange coat animal in a way few people ever see. Night Moves against the blue snow, the oriental simplicity of Red fox the branches, and the stealthy movement of the Watercolor/Acrylic 14 x 22

34 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Western grebes are common in the San Francisco Bay Area where I live. I Burt Brent, SAA endeavored to capture the elegance of their courtship rituals in this sculpture. Resides: Portola Valley, California b. 1938, Michigan, USA

Gliding Grebes Western grebes Bronze 6 x 7.5 x 11

35 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Carel P. Brest van Kempen, SAA This painting was inspired by a 2007 trip occurred commonly in hilly secondary forest. Master Signature Member into the Bornean Interior, to the region of the In this painting I tried to develop a treble ten- Resides: Holladay, Utah Lanjak Valley along the border separating the sion between a brownish female, her prospective b. 1959, Utah, USA Malaysian state of Sarawak and the Indone- suitor displaying colorful dewlap and patagia, sian state of Kalimantan Barat. I watched 3 and their unassociated neighbor, a large male Lanjak Dawn species of Flying lizards, the loveliest of which Orang-utan, icon of the Bornean rain forest, Crowned flying lizard & Orang-utan was the Crowned flying lizard, named for calling from his sleeping-nest. Acrylic, 20 x 30 the spiny scale located above each eye, which

36 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

With spring comes the renewal of life and will rejoin the bison herd—some to gather shedding George Bumann relationships—relationships that can endure over wool for their nests, others to find food for growing Resides: Gardiner, Montana years and span continents. As Yellowstone’s bison broods atop the grazing giants. Daydreams some- b. 1976, New York, USA emerge from their wintery trudge, they are reunited times get the better of me and I ponder how many with their fair-weather friends from afar. In the gatherings of “old friends” are going on here in the Height of Spring height of Spring, many of these seasonal travelers Park each spring. Cow bison with birds Bronze, 17 x 20.5 x 10.5

37 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Dan Burgette Movement in nature fascinates me. For predators, The sweeping line of the Pacific yew driftwood was Resides: Tetonia, Idaho making a living is divided between quiet observa- the dominate element that thrilled me as I carved. b. 1947, Indiana, USA tion and dramatic efforts to catch prey. “Panic At- The fish swirling out of the roots counter balance the tack” depicts the moments of fishy chaos when a swooping bird. Life happens in a splash. Panic Attack kingfisher dives into the water trying to catch lunch. Kingfisher Pacific yew wood 38 x 16 x 18

38 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

In the past, I’d finish a watercolor on silk painting could I frame it and display it so people can view DAN CHEN, SAA and then mount it on to another piece of paper. It it from both sides? So after much thought, I came Resides: Eugene, Oregon has always interested me to look at the back of the up with this idea: create a frame out of bronze, b. 1963, China painting since the silk is semi-translucent (thus the and place the silk painting in between two pieces image of the front will show through the back of the of glass, so it becomes a freestanding sculpture with Magnolia and Nuthatch Bronze/Silk silk). That made me think of painting the silk on a painting which can be viewed from both sides. 22 x 21 x 7 both sides. But even if I painted the two sides, how

39 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

James Coe, SAA “Woodland Shadows” is unusual because it was more freshness in my brushwork. Not only was I Resides: Hannacroix, New York painted after I had completed a larger, full-color ver- was surprised by how quickly the second painting b. 1957, New York, USA sion of the same motif. I had struggled for months came together, I was excited by how effectively the with the larger canvas—especially with the colors in quality of sunlight and shadows under the trees Woodland Shadows the shadows on the snow—and I wondered whether could be suggested in black-and-white. Turkeys by using a limited monochromatic palette I would Oil on linen be able to work more directly and thereby retain 15 x 22

40 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

In Africa when the sun is very low in the late after- Here the zebra are stampeding through that Guy Coheleach, SAA noon, its red rays bathe the whole landscape. These twilight dusk. One of the lions on the far side is Master Signature Member colors intensify in the flying dust caused by the chaos chasing them to the right while the lion in the fore- Resides: Hobe Sound, Florida of a stampede. This painting is an attempt to ground proceeds to squeeze the herd towards the b. 1933, New York, USA capture that mood. left. This increases the chances for at least one of the cats getting a better shot at grasping a zebra. Zebra Chase Zebra & Lions Oil on linen, 26 x 48

41 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Juan Pablo z. Cornejo As the title suggests “Twins Talking” represents forest. They are endemic birds. I like them very Resides: Peru two wonderful twin birds, one in front of the much for many different reasons, especially the b. 1973, Peru other in a conversation. These beautiful Peru- colors. This was one of the more enjoyable paint- vian birds were observed in the Amazon rain ings I have done. Twins Talking Johnson’s Tody-Tyrant Colored pencils and acrylic 9 x 25

42 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I love the colors of the African wild dog’s animal is on the endangered species list. Anni Crouter coat. Along with the texture, it was a fun In some areas of their habitat they are Resides: Flint, Michigan challenge for me to paint. On a much more close to extinction. b. 1963, Illinois, USA serious note, because of over-hunting this Wild Dog Acrylic 22 x 28

43 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Nancy Darling, SAA While on one of my many visits to the Dreher Park the juxtaposition of his striking neutral pattern and Resides: Durham, North Carolina Zoo in West Palm Beach, Florida (now known as the riotous colors of the jungle foliage, and could b. 1938, Wisconsin, USA the Palm Beach Zoo), I snapped a photo of this hardly wait to paint him. lovely elusive Black-crowned night heron. I loved Jungle Watch Night-crowned heron Oil on canvas panel 8 x 10

44 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I have seen many gators while paddling down the being crushed) and of incredible populations of the Darrell Davis, SAA Wacasasa River to the Gulf of Mexico in northwest- animals. Most people are familiar with alliga- Resides: Arlington, Texas ern Florida. They are amazing, powerful, and pre- tors walking or lazily sunning themselves along the b. 1962, Texas, USA historic creatures. The Spanish wrote of being afraid shoreline. This is exactly how I did NOT want to to sleep at night because of the echoes of turtle shells portray them. “Three Deep” is a mix of abstraction Three Deep American alligators being crushed by the reptiles’ jaws (the Conquis- and realism, which contains three swimming gators Bronze tadors mistook the sound for that of human skulls suspended at an angle to project a sense of motion. 24 x 15 x 12

45 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Andrew Denman, SAA In 2006, I was honored to be awarded the Don shapes they made while dangling from the rope-like Resides: Walnut Creek, California Eckelberry Memorial Scholarship by the SAA. vines. The inclusion of the word “twist” and the re- b. 1978, California, USA “Twist” is the first of four paintings (so far) resulting peated shape of the swirling, cursive “T” serves to from the subsequent trip to the Asa Wright Nature activate the abundant negative space and to echo Twist Centre in Trinidad. I was inspired by the Tanagers’ the graceful lines of the subjects. Palm tanagers curious and acrobatic poses and the elegant, lyrical Acrylic on board 24 x 19.5

46 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Leopards are my favourite subject. It can be chal- the day, but this leopard was very relaxed and coop- Sue Dickinson, SAA lenging to make a beautiful painting of such an al- erative. He just knew he was gorgeous. Resides: Nelspruit, South Africa ready-beautiful creature that isn’t often seen during b. 1958, South Africa

Cat on a Warm Rock Leopard Watercolor 21 x 30

47 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Kim Diment, SAA “Samburu Grevy’s” is the second in a series of Grevy’s “Samburu Grevy’s” is a painting I did to capture the Resides: Grayling, Michigan zebra paintings done to raise awareness and gener- beauty of the Grevy’s patterned against an equally b. 1962, Michigan, USA ate funds for the endangered Grevy’s zebra. The first beautiful Samburu backdrop. The lighting in was “Against the Clock” in 2005. A portion of the Africa is stunning. I love the warm yellows and Samburu Grevy’s sale of “Samburu Grevy’s” will go back to “Grevy’s ochres that are produced by a sunset just as much as Grevy’s zebra Zebra Trust” of Kenya. the subtle blues and purples hidden in the shadows. Acrylic, 24 x 18

48 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Africa is inspirational in itself. Living in Africa Springbok amongst others, all requiring water to Paul Dixon, SAA affords me unrivalled opportunities for first-hand drink on a daily basis, frequent the diminishing Resides: Cape Town, South Africa experiences, primarily to witness and subsequently waterholes. As a result of the open terrain, very close b. 1956, Scotland to paint wildlife in its unspoiled natural habitat. encounters with the wildlife occur regularly, allow- A day and a half drive north lays “Etosha” in north- ing great opportunities for making copious sketch- Mother Knows Best Elephants ern Namibia, a vast open pan of some 5000 sq. book notes and taking photo references for future Oil on linen kilometers. During the dry winter months, vast paintings. What could be more inspirational?! 19.6 x 47 herds of Zebra, Wildebeest, Gemsbok (Oryx) and

49 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Mick Doellinger, SAA Texas longhorns and their history have always fasci- in their new environs. Yet, the breed is a product Resides: Ft. Worth, Texas nated me. I am intrigued by their assortment of long, of natural selection (like other wildlife) evolving in b. 1956, Germany wide and corkscrew horns as well as their vast array a wild state on the plains of Northern Mexico and of hide coloration. The longhorns of today are de- South Texas. This has given them some other unique Gotta Itch scended from Spanish cattle brought to the Americas characteristics such as longer legs, better heat and Longhorn steer by Columbus in 1493. They finally made their way drought resistance, and birthing very small calves for Bronze north to Texas by 1690 and vigorously flourished an animal of that size. 16.5 x 24 x 17

50 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

My approach to drawing and painting with soft depict. I prefer to let the viewer engage in and enjoy Dawn Emerson pastel is to begin with a quick gesture sketch that the process of the painting, often leaving remnants Resides: Terrebonne, Oregon captures the energy and feeling of my subject. I want of the under-sketch visible. The challenge is to stop b. 1955, Virginia, USA to create a strong design using marks and color that before I say too much, and to know when I have said enhances the quality of movement and conveys the just enough. Fast and Furious Bison spirit and power of the animals, people, and places I Pastel 20 x 28

51 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Leslie H. Evans (“Chisaii”) There’s an undeniable hubris among humans dured the brunt of man’s scorn and unreasoned Resides: Temple, Texas when it comes to other primates. Humans like loathing the longest, from the ridiculous machi- b. 1952, Japan, AFB to believe that they alone own the rights to self- nations of Hollywood spectacle to the genocidal awareness, abstract thought, and emotion. campaigns of poachers, developers and warring Silverback Accordingly, apes are man’s evolutionary punch- armies. I want my art to demonstrate a different Western lowland gorilla ing bag: comic relief sidekicks who never quite point of view. Gorillas are sentient beings. They Colored pencil made the grade. Perhaps because their appear- do matter. 15.5 x 20 ance intimidates us the most, gorillas have en-

52 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

The Texas Gulf Coast is a great birding area. shy they perform their breeding rituals right on Anne S. Faust, SAA At times large numbers of gulls and terns will the beach. Here, a pair of Sandwich terns is per- Resides: Baton Rouge, Louisiana gather together on the beach. They are frequent- forming a pre-nuptial dance. With crests raised, b. 1936, New Britain, Connecticut ly disturbed by fishermen or beach-goers riding necks extended, and wings lowered they strut around in their vehicles. They’ll rise en masse around each other like a Do-Se-Do in a square Do-Se-Do with Your Partner Sandwich terns and quickly settle down again close by. Not being dance—hence the title of my piece. Serigraph 15.75 x 24

53 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Susan Fox, SAA Mongolia, where I saw these domestic Bactrian morning and late afternoon, when the light, conve- Resides: Dow’s Prairie, California camels, has become my favorite art travel destina- niently, was at its best. b. 1953, California, USA tion. It’s the whole package: great wildlife, amazing landscapes and interesting, hospitable people. I got During our stay, I got to go on a free camel ride out Done for the Day to photograph and sketch them last fall at Arburd into the surrounding dunes, which define the far- Bactrian Camels Sands, about 5 hours south of Ulaanbaatar, where thest northern edge of the Gobi. They are the same Oil, 17 x 30 we stayed at a ger (yurt) camp. They belong to local kind of camels that were featured in the film “The herder families and hung around the camp in the Story of the Weeping Camel.”

54 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

The often playful and inquisitive nature of the raven bird found a small pool of water, and looked as if Sharon Fullingim captured my imagination many years ago. Watch- it wondered what was in the pool, or who was that Resides: Luis Lopez, New Mexico ing them go about their everyday business inspired peering back from it! b. 1957, South Carolina, USA me to sculpt a moment in time when a curious Curiosity Raven Bronze on steel 12 x 8 x 15

55 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Jeff Gandert, SAA I am always amazed how a common bird like this A somewhat calm and delicate bird for such bold Resides: Maineville, Ohio Downy woodpecker can, with a vise-like grip, seize markings, he proved to be the perfect accent for this my attention when one suddenly alights very near. stately maple I found one wintry December after- Late December After countless hours spent watching, observing, and noon. Downy woodpecker painting these birds it’s still a surprising and spiri- Acrylic tual event. With tuxedo like attire it’s as if having been 24 x 16 invited to a black tie gala, he’s the only one with the presence and nerve to arrive wearing a red tie.

56 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I have always been struck by the sculptural qualities channel catfish to model because of its familiarity Daniel Glanz, SAA of catfish. At times, somewhat imposing and with in North America. Channel catfish can weigh 50 Resides: Masonville, Colorado large muscle volume, they make wonderful, if not pounds and though they don’t match their 400-500 b. 1956, Michigan, USA unlikely, subjects. Though they assume less notoriety pound cousins in Southeast Asia, they still have a than other game fish, they are none the less in the great presence about them. Catfish Study top three among fresh water anglers. I chose the Blue Channel catfish Bronze 19 x 28 x 11

57 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Robert Glen, SAA An old bull eland is a magnificent and impressive animal. Resides: Ruaha National Park, Typically shy and surprisingly agile for their substantial size, Tanzania the old bulls carry themselves with an appearance of great b. 1940, Nairobi, Kenya pride.

Bull Eland Antelope Bronze 20 x 20 x 8 58 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

As both a landscape and wildlife artist, I sometimes used the gull as an anchor; it stops the viewer’s eye Grant Hacking, SAA like to combine the two subjects. However, neither from going between the two. I find it no easy task Resides: North Conway, New subject should dominate the painting. My focal to show the immensity of the American landscape Hampshire point is both bear and mountain. In this work I within the confines of my canvas. b. 1964, South Africa

Big Country Grizzly bear and gulls Oil on linen 24 x 36 59 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Lorna Hamilton I painted the “Ghost of the North” following a trip behavior. It is a nomadic bird which has a different Resides: County Down, to Dublin Zoo, Ireland. I was inspired to paint it territory and different mate each year. North Ireland after becoming mesmerized by its deep, eerie call b. 1973, North Ireland and ghostly presence. It is a fascinating owl, not just In this painting I wanted to reflect its solo existence because of its size and coloring, but also due to its and capture the essence of its mysterious way of life. Ghost of the North Snowy Owl Oil on linen 26 x 16 60 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

It was during a camping safari in Botswana that I fore something spooked them and they careened off Matthew Hillier, SAA saw this stampeding herd of zebras. We really hadn’t across the plain. The light and shadows of the dust Resides: Easton, Maryland seen too many during the safari, just the occasional were pretty amazing. I loved the way the Zebras at b. 1958, United Kingdom small group. However as we drove along the Chobe the back were faded in the dust. River in the early morning, we came across several Stampede Zebra large herds. We watched this group for a while be- Oil 20 x 48

61 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Cary Hunkel, SAA This zebra is connected to the moment, slowly through the use of lighting and value contrasts in Resides: Madison, Wisconsin scanning its surroundings. I wanted to integrate both the figure and the ground. b. 1945, Wisconsin, USA this boldly patterned zebra into its environment

Connection Zebra Watercolor 22 x 16

62 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

The ancient desert dog breeds have always attracted speed, quick maneuvers and keen eyesight. To Leslie Hutto me. The Saluki is particularly enjoyable to sculpt capture this, I used lines that do not end; they just Resides: Aiken, South Carolina because of his graceful physique, noble stature and ebb and flow in new directions. In the end, they de- b. 1958, New York, USA ancient gaze. He was a desert dweller built for fine an ancient noble breed of dog in the sand. Bedouin’s Dog Saluki Bronze 7 x 4 x 12

63 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Wes Hyde The cattle egret is a type of heron that, unlike its When I saw this particular bird, in full breeding Resides: Arvada, Colorado relatives which primarily feed on fish, prefers - in plumage, I thought of him as a southern gentle- b. 1967, California, USA sects and derives its name from the habit of follow- man, dressed in his best white suit, ready to spend a ing herds of livestock, catching the bugs they stir up. pleasant day flirting with the ladies. Cattle Egret: Preferring warm climates, the cattle egret can be A Southern Gentleman found year-round in the southern United States. Oil, 10 x 8 14 x 7

64 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

While it is the arrangement of red oak leaves that bits of food. In the fall of the year it makes a fine Jay J. Johnson, SAA inspired this painting, it is the white-throated spar- contrast of dull plumage against this display of Resides: South Hamilton, row that adds focus. A common species, the white- varying shades of red. Massachusetts throat is always close to the ground searching for b. 1958, Massachusetts

Autumn Leaves White-throated sparrow Oil on Belgian linen 12 x 9 65 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Richard R. Jones, SAA I believe in simplicity in creating sculptures. I take which it came. One sees the blue black color of the Resides: Kattskill Bay, New York three dominant characteristics of each bird and back and the lighter color of the breast as it flies by b. 1949, New York, USA elaborate on these. I have always been inspired fast. There are other colors but they aren’t necessary. watching the barn swallow catch bugs over water The angular wings are important. The simplicity is Swooping Swallow at the family lakeside camp. Its forked tail has been there and no more information is needed. Barn swallow elongated to show motion and the direction from Maple with Urethane 18 x 24 x 12

66 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

A few years ago the National Zoo had the first long beaks. Working in a loose style, the challenge Karryl, SAA hatching of a kiwi chick in 25 years. I had the was to capture the essence of my subject caught in Resides: White Oak, privilege of being behind the scenes when he was this characteristic moment in time. Pennsylvania only a few days old. Kiwis are unique in the bird b. 1948, New York, USA world in that their nostrils are at the end of their Nosing Around Kiwi Bronze 5 x 6 x 4 67 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Christine Knapp, SAA Toads and Warts!! To some, a children’s fable with hides. I took a tad of artistic liberty so I could roll Resides: Lyons, Colorado deep woods and ugly witches. To me, a wondrous him into a ball and he just begs to be held. I had a b. 1951, Ohio, USA creature. Truly beauty is in the eye of the beholder, great time with this piece. Isn’t that what it is all and I just love these little creatures and their bumpy about? Twisted Toad Bronze 4 x 3 x 3

68 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

At the end of a long-day of fishing the flats in the The tarpon’s explosive brilliance, power and grace John Kobald, SAA Florida Keys, I was rewarded. The magnificent amazed me as both an angler and an artist. Resides: Meeker, Colorado tarpon took my fly and burst out of the water. b. 1967, Illinois, USA

Boredom Breaker Tarpon Bronze 25 x 16 x 10

69 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Kim Kori, SAA Most of us know that moths are drawn to flames One evening I imagined how delighted a lizard Resides: Sedona, Arizona and many lizard species feast on moths. In “Double would be to come across this gathering, which at the b. 1950, Pennsylvania, USA Jeopardy” I’ve depicted a spiny lizard which I have same time would put the moths in double jeopardy. been able to study in Sedona, Arizona, where I live. Double Jeopardy I often watch the moths dance around the candle Lizard and moths flames when sitting out on my screened-in porch. Bronze 7.25 x 6.5 x 4.5

70 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

My passion for wildlife is the reason I paint. I be- notice it will make them more aware of the natural Susan Labouri, SAA lieve my job is to capture a moment in the lives of world, and in turn they will become more passion- Resides: Big Bear Lake, California my subjects. The only way to do that is to paint the ate about wildlife and nature around them. Maybe b. 1951, California, USA subjects I have seen with my own eyes. That is the then people will realize how important wildlife and only way an artist can truly capture a personality nature is in our lives, and in turn will start caring Nature’s Study Tiger and it’s by capturing the subject’s personality it will and do more to protect it. Acrylic on clayboard draw people. Hopefully by getting people to take 14 x 20

71 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Laney, SAA Winter storms in the Wind River Mountains of where there is a clear view all around and preda- Resides: Crowheart, Wyoming Wyoming are part of the yearly cycle. At this time tors can be easily seen. The lambs from last spring b. 1942, Colorado, USA of year the Rocky Mountain Bighorn Sheep move are still with their mothers though they have long about in groups of mixed rams, ewes and lambs. since stopped nursing. The young ram is four years Waiting out the Storm During a storm the sheep tend to concentrate on old and the mature ram is probably close to eight or Rocky Mountain Bighorn Sheep windblown ridges where forage is available, and nine years old. A large “trophy” ram is rare today. Oil, 21 x 43.5

72 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Art has always been a part of my life. From earliest scientific viewpoint. While the primary goal is Brent A. Langley memories, I have been intrigued with the idea of to give pleasure, a secondary goal is to educate, Resides: Coal Valley, Illinois taking what my eyes see, melding that sensory input to prompt in the viewer the desire to preserve the b. 1947, Kansas, USA with what my mind imagines, and translating the wonderful, extravagant, beautiful diversity of life resulting images through my hands into works of that surrounds us. Flight of Fancies art. My objective is to create art that is harmoni- Black-necked stilt Acrylic, 16 x 24 ous in all aspects, from both a compositional and

73 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Rod Lawrence, SAA This is one of the paintings that I did for an instruc- deer is from a series I took while living in Montana Resides: Kalkaska, Michigan tional book co-authored by me and published by during the early 1970’s. The background idea is b. 1951, Michigan, USA Walter Foster Publishing in 2004. The book shows from a recent painting trip to Wyoming, and my step-by-step demonstrations on how to paint wild- reference photos taken of rock formations while ex- Sunrise Mulie life subjects using acrylic paint. ploring the Torrey Canyon area near Dubois. One Mule deer early morning trip I caught the sun creeping up over Acrylic on panel “Sunrise Mulie,” a painting of a large mule deer the eastern rock walls and shining a bright orange- 10 x 8 buck, is based on some photographs and experiences yellow light on the opposite side on the canyon. that I had over a period of many years. The mule 74 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I only had to go as far as the end of my driveway for the outstretched wings. It looked rather ominous George Lockwood, SAA this idea. Walking out to get the newspaper early at first, which led me to the title. These turkey Resides: Santa Ynez, California one morning, I heard a slight ruffle of feathers vultures and other scavengers provide a great ser- b. 1961, California and looked up to these two characters looking vice to us all by cleaning up dead and unwanted down at me. They returned for several days and I carcasses. The Undertakers Turkey vultures became interested with the backlighting effect on Acrylic, 10 x 16

75 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

A. E. London, SAA She was just coming of age when I drew her, a survivor of the dangers Resides: Hilliard, Ohio that took most of her siblings. She had the look of a leader besides being b. 1957, Wisconsin, USA an able warrior, like a future queen.

Warrior Queen Lioness Charcoal & Watercolor on paper 20 x 40 76 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Giant pandas are one of the world’s most en- Generally solitary, giant pandas communicate Dorcas MacClintocK, SAA dangered mammals. Some 1600 of them live in mostly by scent marking. When pandas meet it Resides: Hamden, Connecticut small isolated populations in mountain forests is often an antagonistic encounter. This aggres- b. 1932, New York, USA along the eastern edge of the Tibetan plateau sor threatens with head bobbing, while the other in China’s Sichuan, Gansu, and Shaanxi prov- panda readies a forepaw swat. Beishung inces. Theirs is a world of mist, clouds, and heavy Giant Panda Bronze rains that support a dense understory of bamboo 24 x 6 x 7 on which pandas depend.

77 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Roger Martin “Jeremiah” is the first sculpture in a series in prog- “Jeremiah” I was very careful to keep him dimen- Resides: Albemarle, ress. I wanted to create sculptures of creatures we are sionally correct. I didn’t want him to be “cartoonish.” North Carolina accustomed to towering over. My goal is to produce Pose was also important in creating a dominant b. 1961, North Carolina, USA a series of pieces that enable these humble creatures attitude. to maintain a presence on their own—and to Jeremiah possibly even dominate the room. While creating Bullfrog Bronze 36.5 x 27 x 23 78 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

My pencil on paper work is based on trips to the encountered have a history that can only be imag- Jeanette Martone developing world where I work on volunteer proj- ined. My art captures in a moment of time their Resides: Deer Park, New York ects, and where the local dogs capture my attention. vulnerability, but also their inner strength. I hope b. 1956, New York, USA Most are street dogs, hungry and frightened—but to bring awareness to their situation and encourage all have the spirit to survive. The dog in “Alone,” was compassion towards these beautiful animals. Alone always searching for food and had recently had pup- Dog Pen & ink on paper pies, although I never saw them. All the dogs I’ve 15 x 14.25

79 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Diane D. Mason, SAA There are few birds more appealing and more together into an amusing little sculpture—during Resides: Berthoud, Colorado possessed of personality than burrowing owls. I had which the rectangular base gradually evolved into a b. 1951, Illinois, USA some wonderful photos of them available, and had “Birder’s Journal.” Sometimes, one just has to have previously sculpted a pair of binoculars for a com- a little fun! Who’s Looking at Who? mission. So it was a natural to put the two subjects Burrowing owl Bronze, 13 x 10 x 9

80 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

A flight of Sandhill cranes at Bosque del Apache on The calls of geese, widgeon, yellow legs, snipe and Walt Matia, SAA the Rio Grande River in New Mexico. An evening thousands of roosting cranes. Binoculars, good Master Signature Member ballet of gestures, silhouettes and negative spaces. friends, a glass of wine and a Night at the Bosque. Resides: Dickerson, Maryland b. 1953, Ohio, USA

A Nite at the Bosque Sandhill cranes Bronze 10 x 24 x 5 81 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Ross Matteson, SAA “Crown of Thorns” came into existence after I our studio during which time she provided some Resides: Olympia, Washington helped rehabilitate a red-tailed hawk that had very nice “live” reference. The sculpture features b. 1957, Washington, USA broken its wing. A friend of ours here in Olym- a dangerous rose vine, with some very sharp ex- pia is a veterinarian. He sometimes calls on me posed bronze thorns—not unlike the talons and Crown of Thorns to use my falconry expertise to further prepare beak on my subject. The reference to “persecu- Red-tailed hawk these birds for release back into the wild. We kept tion” in the title is personal and in this case quite Bronze this particular hawk for a couple of months in unrelated to the hawk. 11 x 5 x 5

82 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

As I took the photo for this piece, the elder donkey was square. By having them travel together, the youth can Sally Maxwell actually further in the lead with the young one follow- feel the confidence of the elder and erase its anxiety. I Resides: La Grange, Texas ing behind. I figure the owner was trying to get the grouped them closer to highlight the contrasting moods b. 1946, Illinois, USA young one used to the commotion and movement in their faces. I find this mirrors my current relation- before giving it the job of actually carrying goods to the ship where I am the elder, leading us in life. Age Before Beauty Donkeys Colored scratchboard 36 x 36

83 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Jan Martin McGuire, SAA Many artists shy away from predator/prey paintings This lioness has killed a wildebeest which she is now Resides: Bartlesville, Oklahoma thinking that the public might be “put off.” But as a dragging back to her cubs. She has a tremendous b. 1955, Colorado, USA naturalist I understand the natural “circle of life” of burden to care for these young ones for several years— the wild world. I have been traveling to Africa for and the wildebeest is heavy—thus a double play on Heavy Load over 13 years, and I have seen this many times. the title. Lioness with Wildebeest kill Acrylic, 12 x 12

84 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

While spending a week at the Rimrock Ranch moving lower. These rocks are from the explosion Gregory I. McHuron, SAA in Wapati, WY, we had a snow storm which of the Yellowstone Caldara, and are a reddish Resides: Jackson Hole, Wyoming covered the Absaroka Mountains with a full conglomerate. b. 1945, New York, USA dusting of snow and the bighorn sheep began North Fork Bighorns Bighorn sheep Oil, 7 x 14

85 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Darin Miller, SAA Living in northern Ohio, I am fortunate to be only a it continued to feed without a care, flying around Resides: Fremont, Ohio twenty minute drive from Magee Marsh, a hotspot me and walking on the boardwalk down by my b. 1981, Ohio, USA for migratory birds. This particular hooded warbler feet. After about five minutes of being within arm’s came out into the open and put on a show. Landing length, he headed off into the woods. He truly de- Spring Spectacle only a few feet from me on the boardwalk railing, served to be painted. Hooded warbler Oil, 7 x 14

86 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Creating a posture that expresses the dynamic na- understanding of nature and not that of a camera Ken Newman, SAA ture of a pheasant while accentuating an artistic lens. The geometric base extends the footprint of the Resides: Cambridge, Idaho line was the challenge. This posture only existed pheasant’s slender leg, which accentuates the dy- b. 1956, California, USA inside of me and may not be a natural represen- namic posture and its precarious relationship with tation of the bird. So, posture and art are vaulted man. Tale of Respect into one—based on my experiences, attitudes and Pheasant Bronze 31 x 23 x 17

87 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Marilyn Newmark, SAA One day while I was riding my horse he decided in the other direction all the while holding onto Resides: Glen Head, New York a branch that we were passing had his name that branch for dear life; never letting go! This b. 1928 , New York on it. He took a bite at the branch. It did not exhibited horse has bitten off more than he can break off and he did not let go. As he continued chew. Bon Appetit to move he turned himself until he was heading Horse Bronze 13 x 14 x 4

88 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

“Under African Skies” shows two bull elephants, and spent hours sketching elephants in the north of Alison Nicholls dwarfed by a vast stormy sky. In Africa the scale of the country. “Under African Skies” is based on those Resides: Port Chester, New York the landscapes and skies are huge, and over time this experiences, watching elephants on a hot afternoon b. 1967, Yemen sense of space has become an important element in as the storm clouds gather above. my paintings. I lived in Botswana for nearly 7 years Under African Skies African elephants Watercolor 12 x 16

89 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

James M. Offeman, SAA As the name implies, the Common yellowthroat is While examining a photograph I had taken of a Resides: Missouri City, Texas common to all of the continental United States. For heron against a backdrop of reeds and cattails, I b. 1953, Texas, USA a warbler species that is widespread and abundant discovered a tiny Yellowthroat peering out of the they are frustratingly difficult to see. Inhabiting wet shadows within the reeds. Since then, I’ve made an Yellowthroat and marshy areas, the Common Yellowthroat re- effort to always look a little closer. Common yellowthroat mains well hidden as it feeds in the thickest of the Pastel reeds, only venturing out to a low limb or the top of 13.5 x 9.5 a tall reed to mark its territory with its loud call.

90 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

The birds in my artwork are “Yanbarukuina.” It can’t fly and is in danger of extinction. I would Munenori Okada “Yanbarukuina” is a bird which lives only in the like a lot of people to know the existence of this bird Resides: Tokyo, Japan forest named “Yanbaru” in Okinawa Pre. in Japan. from my work. b. 1971, Japan

Yanbaru Okinawa rail Acrylic 8.5 x 11.5

91 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Leo Osborne, SAA Living near the Marshfield Fair, I would go each imposed portrait. Like the fishing cormorant of Master Signature Member summer and it was there I met my namesake, “Leo the Orient, this image of the bygone era of Hurdy Resides: Guemes Island, Washington the Monkey.” It was ME!!! I have wondered about Gurdy represents a kind of symbiosis and honor for b. 1947, Massachusetts, USA this cup-carrying Capuchin for decades now, and each individual at each end of that string. I remain he has come to represent my own archetype who the artist-monkey, or is it the monkey-artist? Hurdy Gurdy works at the end of the string belonging to the Monkey “great puppeteer in the sky.” This painting is a self- Acrylic and Gold leaf 24 x 16 92 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I have had many encounters with African Cape beautifully shaped horns. I so enjoyed doing this Dino Paravano, SAA Buffalo in the last forty years. This one was the most pastel, as it turned out as I envisioned it and hoped Resides: Tucson, Arizona recent, exciting and awesome experience; coming for; depicting the contrast of the softness of the envi- b. 1935, Italy face-to-face with these powerful and dangerous ani- ronment and the power of the animals. mals. It was an afternoon at the Kruger National Old Mates—Cape Buffalo Pastel Park in South Africa that I came upon these beasts. 28 x 42 What impressed me most about these two were the

93 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Leon Parson, SAA “Orange and Blue Landscape with Red Fox” is from The painting started from a photo that I took on a Resides: Rexburg, Idaho an actual setting near my home in Rexburg, Idaho. late wintery afternoon. For the purpose of creating b. 1951, Utah, USA It is adjacent to the banks of the Teton River perhaps a more interesting and pleasing design I added the a mile or so upstream from where it joins the North strips of sunlight and the red fox that were not in Orange and Blue Landscape Fork of the Snake River (Henry’s Fork). Since my the original photo. with Red Fox youth I have explored and loved this area. Oil on linen 24 x 30

94 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I visited Kenya a few years ago and stayed three females with young of various ages, relaxing in the Patricia Pepin, SAA days in the Masai Mara. It was June, and the Mara shade of a “lion bush” as it is named locally, recog- Resides: Bromont, was literally a sea of tall grass, making it hard to nizable by its occasional orange leaf. Quebec, Canada spot lions. Luckily our guide found a small group of b. 1964, Quebec, Canada

Mara Baby Lion Oil on linen 24 x 30 95 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Louise Peterson, SAA Great Danes have nothing to prove, their mere pres- Rigel, was the inspiration for this sculpture. When he Resides: Guffey, Colorado ence is enough to intimidate. This is your typical lies down, he flattens himself into the ground. b. 1962, Darlington, England Great Dane keeping an eye on things. My own Dane,

Watch Dog Great dane Bronze 11 x 26 x 16

96 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I had gone to the Vigeland Park in Oslo, Norway to thing to be the connector to pull the disparate parts Harriet E. Phillips, SAA view the massive stone sculptures. The park is nicely together. That became the bread pieces that had Resides: Florida, New York laid out with restful places to stop. One of them was been thrown to the birds. Between the flow of these b. New York, USA overlooking a small lake with these birds swimming and the opposing pattern of the water movement, around. The waterfowl made a good design without all the individual pieces of the picture connected to Al Fresco much need to reposition. But there had to be some- my satisfaction. Ducks Acrylic 10 x 16

97 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

John Potter Raptors are favorite subjects of mine, and Red-tail Aside from that, from an artistic standpoint, I love Resides: Saint Johnsbury, Vermont hawks are among my favorite raptors. I have always the patterns offered for study within their plumage, b. 1957, Pittsburgh, Pennsylvania felt a sort of kinship with them, a connection. I felt as well as the rhythms created by the orderly ar- “adopted” the first time I ever saw one. Painting a rangement of their feathers. The setting here is the Eye of the Storm Red-tail is like painting a portrait of a favorite aunt Wapiti Valley, west of Cody, Wyoming, where Red- Red-tail hawk or uncle. tails can be seen on just about every fence post. Oil, 12 x 9

98 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Leopards are the only cats that consistently hide paused to catch its breath before starting to feed. Justin Prigmore, SAA their kills in trees. These kills, which can weigh I was fascinated by the striking abstract shape of Resides: Scotland up to 125 kg., are hauled into a nearby tree to the dark acacia tree against the plain sky and the b. 1974, Wales avoid being lost to competitors such as lions and almost sculptural beauty of the dead impala. hyenas. This leopard, which I saw in Seronera Leopard and Impala Kill in the Serengeti National Park in Tanzania, Oil on canvas 30 x 48

99 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Randy Puckett, SAA Humpback whales interacting with each other in female, the lower animal, is substantially larger Resides: Salinas, California their warm tropical breeding and calving areas, are than her suitor. There is a bond between these ani- b. 1946, Michigan, USA among my favorite subjects. “The Dance” depicts a mals, at least for a while, and a tremendous attach- male and female humpback swimming up towards ment for them in the people who study them. The Dance the surface, twining around each other. Note the Humpback whales Bronze 21 x 9 x 9

100 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

While working in India, I spent time sketching Rajaji is one of 24 major wildlife reserves in India David Rankin, SAA Arundhati and her mouhut, Zahoor Khan. Several and is known for its high Asiatic elephant popula- Resides: Cleveland, Ohio months later, she slipped in a muddy creek embank- tion. In fact, the reserve has 10 million-year-old b. 1945, Ohio, USA ment, fractured one of her front legs and within fossils of 50 species of elephants. Only one of those weeks died. She was 80-years old. Arundhati lived 50 elephant species now survives as the Asiatic el- Arundhati at the River and worked in Rajaji National Park, reputedly the ephant. Arundhati was India’s Elephant Queen. Asiatic elephant Transparent watercolor largest abode of Asiatic elephants. 18 x 26

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Paul Rhymer, SAA This sculpture was originally done for a commission, incredible wintering ground for thousands of cranes Resides: Point of Rocks, and I later changed it slightly for a garden piece. The and waterfowl. We spent our time watching the Maryland features of cranes form wonderful lines for sculpture cranes and geese coming in to roost and feeding in b. 1962, Washington, D.C. that are quite different from the herons and egrets the fields; quite a sight. This sculpture brings back USA I’m more familiar with here in Maryland. memories of those happy days.

Sandhill Crane My wife and I went to New Mexico for our hon- Bronze eymoon. Our first stop was Bosque del Apache, an 41 x 36 x 18 102 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

This elusive Snipe was spotted on the bank of a this small wetland every year on their way between Andrea Rich, SAA stream in Israel. I was there with Artists for Na- Europe and Africa. It was very exciting for me as I Resides: Santa Cruz, California ture Foundation participating in a project in the have only rarely seen Snipe in the wild. b. 1954, California, USA Hula Valley. Millions of birds migrate through Snipe Woodcut 8 x 10

103 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Martiena Richter, SAA Cats have a special appeal to me. I’m drawn to their ceptively calm, at the same time it exudes a power- Resides: Naperville, Illinois expressive eyes, and love to depict the texture of ful presence and is “ever alert,” ready to pounce on b. 1946, Leiden, Holland their beautiful fur. Although this jaguar looks de- its next meal.

Ever Alert Jaguar Scratchboard 9 x 12

104 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009 photo by Mel Schockner Mel by photo

This is the maquette for the third in a series of three three most characteristic elements of the famed run- Rosetta, SAA different running cheetahs. “Turning Point” is the ning style of this fastest of land animals. The name Resides: Loveland, Colorado lead cat, executing a tight cheetah turn in front “Turning Point” not only describes the spectacu- b. 1945, Virginia, USA of the other two that are running straight ahead, lar maneuver depicted in this sculpture, but also “Running Cheetah” with its feet gathered tightly the position occupied by the species in its struggle Turning Point beneath its body and “Cheetah Sprint” stretched against extinction. Cheetah Bronze out, almost airborne. Together they represent the 5.5 x 15 x 8

105 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Linda Rossin, SAA Each painting presents its own challenges, and in of the act of painting often comes from the life form Resides: Lake Hopatcong, this instance the difficulty was to accurately paint I select to marry into the scene. In this case I felt a New Jersey all of my information within a few inches in minute raccoon was the perfect subject to bring this setting b. 1946, Ohio, USA scale. I could have simply executed this miniature as to life. a landscape, but for me, the heightened excitement Crayfish Cravings Raccoon Acrylic 3 x 4.5 106 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

In Native American belief, black is the color of sion to sculpt my rendition of one of her paintings. Kenneth R. Rowe, SAA mystery and the unknown. Therefore, the raven, Studying the physiology and folklore of ravens my Resides: Sedona, Arizona cloaked in black, is the rightful emissary to the un- entire adult life culminated in working with these b. 1954, Arizona, USA known. Exuding character and intelligence, even amazing creatures at wildlife rehab centers. “Art their iridescent blue color ties into the belief that Walk” offered me the great excuse to meet a celeb- Art Walk the raven is an ever-changing illusion. rity—the raven—to study and have the honor of Raven Bronze sculpting. 26 x 25 x 16 The concept for “Art Walk” came from artist Linda Lee, who was gracious enough to grant me permis- 107 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

John A. Ruthven, SAA The Ornate Hawk Eagle is a bird of prey that has This time it was a nesting site and good photos were Resides: Georgetown, Ohio always fascinated me. Since seeing it in the wild, I’ve taken and sketches made. After borrowing a skin, I b. 1924, Ohio, USA always wanted to paint it. My first encounter with proceeded to complete my painting with acrylics on the eagle was near the Iguazu Falls in Brazil. I was canvas. Elegant Hawk Eagle able to get a few photos but they were not the best. Acrylic The second time I crossed paths with this intriguing 25 x 18 bird was at Lake Catemaco in Southern Mexico.

108 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

These young grizzlies take a respite from the work of subtle behaviors most worthy of telling. By incor- Sherry S. Sander, SAA being a bear to enjoy a friendly wrestling match. porating habitat, I hopefully challenge my com- Resides: Kalispell, Montana positions to respectfully capture an animal’s in- b. 1941, California, USA My work represents a lifelong love affair with terplay with nature, its gestures and personalities animals and art. Observing and interpreting ani- within an artful framework of balance, continuity The Heavies mals in their natural environment reveals those and contrast. Grizzly bears Bronze 15 x 23 x 9

109 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Laurence Saunois, SAA The game—a thing that almost all the beings on son escapes from the devastation of the civil wars Resides: Figeac, France this planet like making, humans or animals. It’s the and the poaching maybe he will, in his turn, watch b. 1966, France same thing. The game develops a certain apprehen- over his own group. Hippopotamus are an endan- sion of the world, an apprenticeship for the future gered species. It is very important to protect this Hippopotamus life. The hippopotamus’ game consists of feigning animal, their environment, rivers, and water. Oil fights. It is often the father who initiates his baby 20 x 27.5 into these fights because in a distant future, if his

110 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

While paddling the Colorado River through Black The Mojave Desert light poured down on them from Sharon K. Schafer Canyon Wilderness, Nevada, I spotted this family the canyons crest, brilliantly illuminating their nest Resides: Boulder City, Nevada of Double-crested Cormorants high above me at and the fragile life contained within it. b. 1952, California, USA their nest on the canyon’s towering volcanic cliffs. Canyon Light Double-crested Cormorants Acrylic on Hardboard 20 x 30

111 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Lindsay scott, SAA With trunk raised, the young mother elephant tests the Resides: Matakana, New Zealand air when potential danger threatens. Elephants are very b. 1955, Zimbabwe protective of their young which remain with the herd for many years. Elephants are one of my favorite animals Who Goes There? to portray in pencil; it is a medium that lends itself to African elephant capturing the wonderful textures of the skin and subtle Oil on canvas tonal variations. 20 x 27

112 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

This pair of swans nested south of Yellowstone Park for intruders. Trumpeter swans are the largest Robert Seabeck, SAA where they are taking their fuzzy, gray cygnets out waterfowl species native to North America. Resides: Laramie, Wyoming to the water, while the adults keep a watchful eye b. 1945, Wyoming, USA

Family Affair Trumpeter swans Oil on panel 18 x 36

113 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Cathy Sheeter, SAA Animals and wildlife have been and are a passion of mine Resides: Aurora, Colorado almost since I was born, and continue to be an ongoing in- b. 1979, Oregon, USA spiration and source of enjoyment to me. I am also passion- ate about my artwork and making the public more aware The Hypnotist of my chosen medium of scratchboard. I am delighted to be Snow leopard able to share my scratchboard artwork of animals through Scratchboard and ink the SAA exhibition, and hopefully also bring awareness to 10 x 8 the endangered species of the Snow Leopard through my piece titled “The Hypnotist.” 114 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I love searching for insects and watching them quite impressive the way its legs and body were Rachelle Siegrist, SAA both up close at zoos and out in the field. This lined with thorn-like spines, helping it to blend Resides: Townsend, Tennessee Jungle Nymph was especially appealing because seamlessly with the stems of its surroundings. b. 1970, Florida, USA of its amazing camouflage abilities. I found it Malaysian Jungle Nymph Opaque Watercolor 3.5 x 4.5

115 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Wes Siegrist, SAA Reptiles know better than anyone how great the sunshine Resides: Townsend, Tennessee can feel on your back. To emphasize the warmth I restricted b. 1966, Indiana my palette to warmer colors, and began with a very intense orange under-painting. Rocks are always a joy for me to Basking Broad-headed Skink render from the initial carefree washes and splatters down Opaque watercolor to the time consuming stippling for sand. I strive in my art 3.5 x 4.5 to document a personal experience and encourage my view- ers to scrutinize the details and textures that we constantly take for granted passing quickly by in our hectic lifestyles. 116 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

After observing this captive grizzly cub playing, I fully clawing at a tree. Adult bears use trees for Kelly Singleton was inspired to paint the encounter. Typically, I marking by rubbing, scratching, biting, and scent Resides: Havre de Grace, steer clear of cute subjects. My challenge became marking. Perhaps this cub was imitating its mother Maryland depicting the cute cub in an unconventional way. or the behavior was instinctual. b. 1971, Maryland, USA From my reference, I chose this pose of the cub play- Bear Clawin’ Grizzly cub Acrylic 11 x 14 117 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Morten E. Solberg, SAA This painting evolved while I was demonstrating fox. It was winter. The fox would have a den in Master Signature Member at a workshop in Haines, Alaska. It started as a the ground and be looking for a mate. Perhaps the Resides: Spring Hill, Florida loose wash in Payne’s gray and burnt sienna, a woman is the guardian of the woods and the men b. 1935, Ohio, USA study of value and design, light and dark. Images have come to see the fox. The audience got caught up emerged and my imagination took over. I talked in it. In the end, the demonstration was a great ex- Visit to the Fox Den about what I imagined as I demonstrated. There ample of how a painting can evolve in unexpected Fox appeared to be a woman standing behind a tree directions and be great fun to do. Time restraints Watercolor/Acrylic and two men traveling through the woods. I looked prevented me from completing the painting for the 22 x 30 for a focal point and the landscape suggested a red audience, so I finished it later in my studio. 118 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

The moment captured in “Shore Patrol” is the result of him and waiting when he walked down the lake- Lyn St. Clair, SAA of five springs spent observing this particular griz- shore toward me. In the magic of the last light of Resides: Livingston, Montana zly. The first year I saw him, he was a gangly and the day this beautiful bear, now in his prime, looked b. 1963, Tennessee, USA comical sub-adult. Over the years I managed to right up at me and this image was etched perfectly learn something about his habitual routes so that, into my memory. Shore Patrol on this evening last summer, I was able to be ahead Grizzly bear Oil 28 x 40

119 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Eva Stanley Alligators’ silent armored presence fascinates me. Hatchling alligators (six to eight inches) are vul- Resides: Loveland, Colorado Two species exist—the American alligator of nerable to raccoons, snakes, herons, egrets, otters, os- b. 1954, Illinois, USA Southeastern U.S., and the rare Chinese alligator prey, large fish—even other alligators. With unpar- (Yangtse River). With 21 other species of crocodiles, alleled behavior for the reptile world, their momma The Swimming Lesson gharials, and caiman, they are the last living close protects them for 1-2 years! I had to capture this American alligators dinosaur relatives, appearing 250 million years tender time in sculpture! Bronze ago, during the Triassic period. Species we see today 9 x 37 x 22.5 have changed little over 65 million years.

120 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

The sights and sounds of a rookery in full swing watching this industrious egret for awhile, I knew Debbie stevens are some of the true wonders of nature. The sub- that was one of the sights that had to be committed Resides: Cypress, Texas jects presented in such an environment are so nu- to canvas; thus the creation of “Cypress Twig.” b. 1955, Oklahoma, USA merous they are almost overwhelming—selection of that “one” picture is nearly impossible. After Cypress Twig Great egret Oil on canvas 24 x 30

121 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Mark A. Susinno, SAA The idea for this painting originated from a and its reflection in the under-surface of the Resides: Harrisburg, Pennsylvania quick pencil sketch on lined notebook paper of water might preserve the sense of gesture and b. 1957, Washington, a feeding rainbow trout. Although I painted motion I liked so much in the sketch. D.C., USA the fish in a fairly tight manner, I hoped a looser, fuzzier handling of the stream bottom Rainbow and Rhyacophila Rainbow trout Oil on linen on panel 17 x 17 122 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

The Bohemian waxwing is close to the looks and during this time. Bohemian waxwings are more Francis Edward Sweet, SAA markings of the Cedar waxwing and is known tolerant than the Cedar waxwings and heartier Resides: Bowie, Maryland as their “big brother” because of their larger size in the cold conditions. A wanderer in range, b. 1938, New York, USA (8.25 inches). It is a bird of the northern they inhabit areas of the Rockies and even boreal forests, moving south and east in win- invade states further south at times. Looking for Berries ter in search of its favorite food—the berries Bohemian waxwing and fruits that are in lower supply in the north Scratchboard 15 x 12

123 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Fred W. Thomas, SAA Steel head are a strong, handsome fish. They are ad- in eastern Oregon. This sagebrush canyon land is Resides: Shoreline, Washington mired by anglers for their ability to fight hard and very different than that of the damp, forested coast, b. 1943, Washington, USA jump often. I have fished for steel head in the coastal and is the reason I chose this setting for “Canyon rivers of Washington state and Alaska. However, the Travelers.” I have used the dark evening shadows to Canyon Travelers fish depicted in “Canyon Travelers” have migrated hopefully create a mysterious, ghostly effect. Steelhead trout hundreds of miles from the Pacific Ocean, up the Oil, 12 x 24 Columbia River, to a tributary of the Snake River

124 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I had just acquired an interesting rug and draped own. Without so much as inspecting it or sniffing it, J. Sharkey Thomas, SAA it against the wall to have a good look at it, when he took root. Watching the vibrant animal motif in Resides: Spring Island, British my little pet, Ludvig, jumped to the shelf it came the weave playing behind my silvery feline, I real- Columbia, Canada to rest on, immediately claiming the setting as his ized that I had my picture. b. 1930, New York, USA

Carpet Cat Domestic cat Oil on linen, 16 x 16

125 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Debra Trent Thanks to the gracious hospitality of a neighbor who long, requiring stamina to hold them upright for Resides: Myersville, Maryland keeps a dozen peacocks on her farm, I spent an en- any length of time. Most artists depict the peacock b. 1954, Germany tire morning walking among the vainest creatures this way, but I chose restraint and decided to focus I have ever had the pleasure to meet. I was able to on the front of the bird. Even without those wild Remarkable Beauty study them at length in getting reference material “eyes” captivating everyone’s attention from behind, Peacock for my art. Eager to show off, the cocks strutted and the peacock is a veritable feast of dazzling color Oil, 16 x 20 fanned their glorious tail feathers in a competition which presented a challenge to portray with what for attention. Those showy tail feathers are quite seemed like a limited palette.

126 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Sailfish regularly run in groups of two or more indi- During this activity they raise their dorsal fin— Kent Ullberg, SAA viduals and engage in cooperative hunting, rather their beautiful “sail”—which more than doubles Master Signature Member like wolf packs. Often this is done in an activity their body surface presented to the prey—and also Resides: Corpus Christi, Texas called “balling bait,” which is when sailfish herd creates many design possibilities for a sculptor b. 1945, Gothenburg, Sweden small fish into a tight ball for more efficient feeding. enamored by these beautiful hunters of the blue. Bluewater Hunters Sailfish Polished stainless steel 24.5 x 15.5 x 6 127 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Marlowe Urdahl, SAA “Harvest Time” was inspired by combining two with the setting sunlight shining through the trees. Resides: Bozeman, Montana of my favorite subjects: sunsets and Canada geese. I also knew that our local free-flying Canada geese b. 1932, North Dakota, USA I did this painting in Bozeman, Montana. This would find this field after harvesting. They found it, scene is only a few miles from where we live. I knew and I have tried to capture the moment. Harvest Time I would do a painting of the fall colors and the grain Canada geese field with the large cottonwoods. I saw the scene Acrylic on board 16 x 20

128 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Linus works at The Living Desert in Palm Desert, and respect for animals and the natural world Diane Versteeg, SAA CA. With my art I try to portray each individual and encourages others to feel the same way toward Resides: Spokane Valley, animal’s personality in addition to their strength, the non-humans of this planet. Washington grace, and innocence. I hope my art shows my love b. 1958, Florida, USA

Linus African crested porcupine Scratchboard 12 x 16 129 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Dale A. Weiler, SAA The inspiration for this piece came from the stone To define the bird’s flight path, I created a subtle Resides: Tryon, N.C. itself. The sweeping surface on one plane of the stone ridge in the surface of the unsealed portion of the b. New York, USA gave me a sense of motion. The question then came stone. The strong contrast between the polished bird down to what subject to select to depict this move- and the natural background surface literally lifts Out of Nowhere ment. When I tipped the stone on edge, the image of the king fisher out into the air. Kingfisher a diving king fisher leapt out of the stone. Black Steatite 25 x 12 x 12

130 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I especially enjoy the willet as an art subject while it sea. Individual waves become less distinct. The surf Sue Westin, SAA is in its soft gray winter plumage. “Willets In Blue” becomes long stretches of soft blue that eventually Resides: Dorset, Vermont was inspired by a scene I found along a Carolina disappear into the darkness. The willets become b. 1950, Connecticut, USA beach one February evening. As twilight descends more and more like muted silhouettes balanced on upon an ocean shore, objects become more and thin lines over dark reflections and matching blue- Willets in Blue Oil more simplified. The sky gradually blends into the gray sands. 18 x 12

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w. Leon White, SAA The type of stone, color and shape often inspires ment as you carefully look it over. The strength of Resides: Seattle, Washington what a sculpture will be. The green with multi jade allowed me to make this paper thin leaf from b. 1953, Washington, USA colored specks reminded me of a tropical leaf. a three inch thick stone. Stone carving always Though the leaf has a nice form with movement takes patience and forethought (there’s no gluing Camouflage it needed some life to it. Therefore, adding the frog it back). My first jade piece truly tested both! Frog on leaf under the fold created this life as a surprise ele- Jade 18.5 x 8.5 x 4.5

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“Mirror, Mirror” is a result of literally playing with should not have to illustrate or instruct, but rath- Timothy H. Widener shapes on the small canvas. When I began to come er communicate an emotive theme. Over the past Resides: Lansing, Michigan up with something interesting, it seemed to morph thirty years, I have found that it is always better to b. 1959, California, USA quite naturally into the animal you see here. What achieve this ideal by saying all that needs to be said interests me as an artist is not the surface of things with as few strokes as possible. Mirror, Mirror but rather the inner, subjective states that can be Woodstork Oil achieved with color and form. For me, expression 11 x 9

133 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Kay Williams, SAA For the past several years, along with other sub- Those amazing eyespots and the moth-like texture Resides: Dayton, Tennessee ject matter, I have been doing a continuing series of the wings were painting challenges that grabbed b. 1942, California, USA of butterfly paintings. The series includes several me immediately. I painted the butterfly larger than Swallowtails, Monarchs, and other types. When I life to show off the beauty of this unique species. Uncommon Beauty—Common saw this Common Buckeye in my mother-in-laws’ Buckeye flower garden I knew it had to be my next choice. Butterfly Oil, 8.5 x 12.5

134 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

I kept turtles as a kid for a while. I loved to watch stranded with their legs spread all akimbo, if I get Steve Worthington, SAA their underwater antics as they somersaulted a bit too close they’ll shoot off their sunny perches Resides: Santa Fe, New Mexico about chasing both food and each other. If I and with a plop they’ll zip down into the murky b. 1966, England come across them in the wild nowadays, they’re depths with surprising speed. extremely wary. Even though they look kind of Family Tree Turtles Bronze 8.5 x 18 x 9

135 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

Keri Young Wild dogs have over the past few years become a fa- dogs that very often gets them into trouble with Resides: North Little Rock, vorite in my family. The complex pack bonds that farmers or herders that live in the same areas of Af- Arkansas they have are especially endearing to me. This rica as the wild dogs. b. 1983, Zimbabwe particular image shows the playful curiosity of the

Curiosity Wild dogs Graphite 30 x 40 136 T he Society of Animal Artists ~ Art and the Animal E xhibition 2009

This scene could represent many places where wild I feel the need to visit this place to find inspiration. Aaron Yount elk are found during the month of September. The creation of a painting allows the artist and the Resides: Towanda, Illinois However, the area that I am sure to visit each year viewer to experience wildlife at any time of year, at b. 1974, Illinois, USA is along the Madison River, near West Yellowstone, any location, but I always look forward to the next Montana—an area known by many artists. I can- “September.” September Elk not stay in the studio and paint for too long before Oil on linen 16 x 30

137 Society of Animal Artists M e m b e r s h i p

Master Signature Heather Bartmann Randall Compton Walter Ferguson Members Kalon Baughan Bunny Connell Del Filardi Charles Allmond Joy Kroeger Beckner Peter Corbin Mel Fillerup Chris Bacon Greg Beecham Joe Coutts Sutton Finch Gerald Balciar Renee Bemis Dennis Curry Trey Finney Robert Bateman Beverly Bender Frances Anne Curtis Robert Fischer Carel Pieter Brest van Kempen Eric Berg Dan D’Amico Cynthie Fisher Guy Coheleach Linda Besse Carol Darling Lindsey Foggett Walter Matia Lynn Bishop Nancy Darling Tony Forrest Leo Osborne Judy Black Darrell Davis Nancy Fortunato Morten Solberg Allen Blagden Willem De Beer Susan Fox Kent Ullberg Sandra Blair Louis De Donato Anne Frey Aaron Blaise Ewoud De Groot Kathleen Friedenberg SIGNATURE MEMBERS Edwin Bogucki Didier Debruyne Christophe Gabriel Robert Abbett Beatrice Bork Leslie Delgyer Jeff Gandert Jodie Adams Paul Bosman Andrew Denman Joe Garcia Harry Adamson Burt Brent Sue Dickinson Martin Gates Al Agnew J. Clayton Bright Kim Diment Anthony Gibbs John Agnew Avis Brown Shane Dimmick Albert Gilbert Edward Aldrich Linda Budge Bruce Dines Daniel Glanz Douglas Allen Kenneth Bunn Paul Dixon Robert Glen Anthony Alonso Kerri Burnett Mel Dobson Wilhelm Goebel Tom Altenburg Tom Buzulak Kelly Dodge Veryl Goodnight William Alther David Byrne Mick Doellinger Shawn Gould Thomas Anderson Lee Cable Christophe Drochon Peter Gray Paul Apps Ray Carbone Michael Dumas Claiborne Duncan Gregory Melody Asbury Brenda Carter Kathleen Dunn Bob Guelich Julie Askew Salvatore Catalano Mark Eberhard Susan Guy Del-Bourree Bach Chapel Stephen Elliott Grant Hacking Peter Baedita Dan Chen Beth Parcell Evans Hap Hagood Tucker Bailey Tim Cherry Maurice Eyeington Gary Hale John Banovich Merry Cibula Melanie Fain Joyce Hall Barbara Banthien Richard Clopton Oscar Famili Nancy Halliday Mike Barlow Caroline Winston Cochran Larry Fanning John Nelson Harris Al Barnes James Coe Jeffrey Farmer Dwayne Harty Larry Barth Ian Coleman Anne Faust Guy Harvey 138 Society of Animal Artists M e m b e r s h i p

Margaret Hawley Robert Krieg Geordie Millar Tony Pridham Janet Heaton Susan Labouri Darin Miller Justin Prigmore Cathy Hegman Laney Ann Milton Julio Pro Elizabeth Henry Judy Larson Tara Moore Randy Puckett Heiner Hertling Bonnie Latham James Morgan Stephen Quinn Matthew Hillier Karen Latham Rob Mullen Don Rambadt Mark Hobson Rebecca Latham Sean Murtha David Rankin Anthony Hochstetler Rod Lawrence Yoshikazu Natsume Mae Rash Beth Hoselton Sukyong Lee Barbara Nelson Gamini Ratnavira Cindy House Karen Leffel-Massengill Rock Newcomb Don Ray Nancy Howe Esther Lidstrom Ken Newman Ruth Ray Karen Hultberg Janeice Linden Marilyn Newmark Linda Raynolds Cary Hunkel Glen Loates Calvin Nicholls Kevin Redmayne Ivan Hyatt George Lockwood Arnold Nogy Maynard Reece Terry Isaac Dennis James Logsdon Larry Norton Linda Relis Nikolay G. Ivanov Anne London Ralph Oberg Vicki Renn Ryan Jacque Louise Lopina Michael Oberhofer Paul Rhymer Paul James Cammie Lundeen James Offeman William Rice Brian Jarvi Dorcas MacClintock Steve Oliver Andrea Rich Cole Johnson Rob MacIntosh Dan Ostermiller Martiena Richter Jay J. Johnson Terri Malec Mary Louise O’Sullivan Michael Riddet Joni Johnson-Godsy Richard Malenky Kathy Paivinen Julia Rogers Richard Jones Thomas Mansanarez Matthew Palmer Rosetta Lars Jonsson B.J. Martin Dino Paravano Joan Binney Ross Karryl Diane Mason Emily Parkman Linda Rossin Mark Kelso Terry Mathews Leon Parson Ken Rowe Joffa Kerr Ross Matteson Victoria Parsons Edward Royal Steve Kestrel A.J. McCoy Rick Pas Donald Rubin James Kiesow Pip McGarry Pat Pauley Jon Ruehle David Kitler Jan Martin McGuire Elva Hamerstrom Paulson Bart Rulon Christine Knapp Gregory McHuron R. Kent Pendleton Terri Russell John Kobald George McMonigle Patricia Pepin John Ruthven Jack Koonce Robert McNamara Louise Peterson Alan Sakhavarz Kim Kori Krystii Melaine Anne Peyton Robert Salo Stephen Koury Eric Meyer Harriet Phillips Lennart Sand Robert Kray Judith Angell Meyer John Pitcher Sherry Salari Sander 139 Society of Animal Artists M e m b e r s h i p

Charlen Jeffery Satrom Joseph H. Sulkowski Janet Wissmann Patricia Davis Laurence Saunois Mark Susinno Kay Witherspoon Joseph Digangi Patricia Savage Joseph Swaluk Jan Woods Susan Dorazio Betty Schabacker Jan Sweeney Steve Worthington Shane Duerksen George Schelling Francis Sweet Scott Yablonski Nick Eason William Schnute Frederick Szatkowski Susan Bankey Yoder Dawn Emerson John Schoenherr Mary Taylor Peter Zaluzec Leslie H. Evans Burton Schuman Fred Thomas Scott Zuckerman John Felsing Jeanne Filler Scott Jan Sharkey Thomas Kate Ferguson Lindsay Scott Linda Thompson ASSOCIATE MEMBERS Cathy Ferrell Randall Scott Dahrl Thomson Beverly S. Abbott James Fiorentino Sandy Scott Eric Thorsen Douglas Aja Jeanette Fournier Robert Seabeck Margery Torrey Karen Allaben-Confer Sharon Fullingim John Seerey-Lester Sergei Traschenko Phillip Allder Tykie Ganz Suzie Seerey-Lester Bob Travers Maxine Arbuckle Andrea Gianchiglia Nigel Shaw Wayne Trimm Nancy Bass Jim Gilmore Kathleen Sheard Jonathan Truss Cheryl Battistelli Jay F. Goldstein Cathy Sheeter David Turner Mary Beacon Laurel Peterson Gregory Donald Sible Heidi Uotila Robert Bealle Simon Gudgeon Rachelle Siegrist Marlowe Urdahl Rita Bechtold Janice Gunlock Wes Siegrist Nicole Van Axx Julie Bender Gemma Gylling Kyle Sims Dick Van Heerde Sally Berner Lorna Hamilton Robert Sleicher Dustin Van Wechel Robert Bevard Mark Yale Harris Daniel Smith Henk Van Zanten Thomas J. Bishop Judith Hartke Dee Smith Joseph Vance Richard Botto Hava Hegenbarth Geoffrey Smith Diane Versteeg George Bumann Andrew Hoag Jill Soukup Lynn Wade Dan Burgette Leslie Hutto John Soulliere Donald Webster Helene Burrow Wes Hyde Leslie Spano Dale Weiler Robert Caldwell Patricia Jackman Linda St. Clair Susan Westin Kitty Cantrell Stephen A. Jesic Lyn St. Clair W. Leon White Barbara Conaway Brenda Johnson James Stafford Jeffrey Whiting Carrie Cook Ott Jones Pati Stajcar Kay Williams Jean Cook Deborah Kaspari Sharon Stolzenberger Ronnie Williford Juan Pablo Zapata Cornejo Clive Kay William Stout Nicholas Wilson Mary Cornish Leslie Kirchner Debbie Edgers Sturges Ria Winters Annie Crouter Yvonne Kitchen 140 Society of Animal Artists M e m b e r s h i p

Marie E. Pierce-Ruhland William Silvers SUSTAINING MEMBERS Koehlinger Kelly Singleton Bertram J. Tuckey III IN MEMORIAM Brent A. Langley Ryan Skidmore Leigh H. Tuckey Artists toil, move on, and are no Sheryl Lanier Judith Gebhard Smith more. But their works remain, Stephen Left Roger Smith PATRON MEMBERS enriching the world. Linda Lemon Heather Soos James L. Bellis Jr. Dennis Anderson Patsy Lindamood Eileen Sorg James L. Bellis Sr. Dharbinder Bamrah Laura Mark-Finberg Eva Stanley Martha Bellis Gregg Thomas Beecham Roger Martin Andrea Harman Steiner Blair Bellis Judson Edward Bierly Jeanette Martone Debbie Stevens Leonard J. Meiselman Patricia Allen Bott Eileen Matias Aleta Steward Foundation Paul Bransom Sally Maxwell Ken Sullivan Elliot Rayfield Larry Chandler Douglas McCallum Linda Darsow Sutton Peter Ross Farrell R. Collett Mark Mueller Sam Thiewes Marijane Singer Simon Combes Dale Muller Tamara Thornton Isabel and Sheldon Sklar Jack L. Dumas Helen Nash Debra Trent Bruce and Nancy Thomsen Alison Nicholls Joseph Venus Don Eckelberry Charles Fracé George Northup Joe Weatherly IN MEMORY OF Donald Grant Munenori Okada Pat Weaver Kenneth S. Roe Ron Orlando Timothy Widener Evelyn Haller Kathy Partridge Victoria Wilson-Schultz Peter Haller David Petlowany Terry Woodall Joseph Halko Pollyanna Pickering Sarah Woods John F. Hamberger John Potter Amy Bartlett Wright Lawrence Isard Carina Ekdahl Prigmore Keri Young Hazel Brill Jackson Carrie Gantt Quade Aaron Yount Robert Kuhn Sonia Reid Robert Lougheed Diana Reuter-Twining Stanley Meltzoff Dean Richards Donald Miller Maureen Riley Lanford Monroe Sharon Schafer Robert Pease Olivia Schemanski Roger Tory Peterson Jenny Forge Schmalstieg Catherine Porteous-Sutton Ann Self Sam Savitt Lyndsey Selley Richard Sloan Karen Siek Sharon Sommers 141 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 0 9

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

In addition to the Award of Excellence, the Sponsor Awards listed below will also be presented at the opening of the 49th Annual Exhibition.

The Hiram Blauvelt Art Museum The Mason Family Foundation Awards for The Leonard J. Meiselman Purchase Award—An acquisition for the the Best Depiction of Natural Behaviors Memorial Award for a Realistic Painting Museum’s permanent collection including Survival, Reproduction, executed in an Academic Manner—Donated Courtship, Play and Social by the Leonard J. Meiselman Foundation The Patricia A. Bott Award Interaction in any Medium — for Creative Excellence— The Bott-Borghi-Bransom Legacy Award— Donated by Bob and Diane Mason Bequest of Patricia A. Bott Awarded periodically by the SAA’s Board of The Leonard J. Meiselman Directors The Evelyn and Peter Haller Memorial Award for a Realistic Sculpture Memorial Award for Sculpture— The President’s Artistic executed in an Academic Manner—Donated Bequest of Evelyn M. Haller Achievement Award—Anonymous by the Leonard J. Meiselman Foundation

Judges for the 2009 Exhibition

Ron Michael, Curator Karla Prickett Barbara Waterman-Peters (Alternate) Birger Sandzen Memorial Gallery Visual Arts Coordinator Artist, Writer, Arts Advocate Lindsborg, KS Salina Arts & Humanities Commission Formerly Adjunct Faculty: Salina, KS Washburn University & Kansas State University Julie Sager Miller Topeka, KS Senior Vice President Bill North, Senior Curator Advantage Trust Company Marianna Kistler Beach Museum of Art Rolling Hills Wildlife Kansas State University Adventure Board Member Manhattan, KS Wildlife Art Collector for 35 years Sandy Walker, Animal Curator Susan J. Brown Rolling Hills Wildlife Adventure Botanist, Associate Professor of Biology Salina, KS Kansas State University Studied Art and Art History 2 years Manhattan, KS at Kansas State University

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2008 2007 Awards of Excellence Awards of Excellence

John Banovich, End of Days John Agnew, African Elephant James Coe, Mallards on Melted Ice Tucker Bailey, Luna Kathleen Dunn, July the 5th Dan Chen, Hen & Egg Laney, Above Ross Lake Dan Chen, Peacock & Wisteria Paul Rhymer, Free Ride Sue Dickinson, Zebras in the Mist Jill Soukup, Lunch Break Melanie Fain, Tangled Web Hap Hagood, On a Winter’s Moon Richard R. Jones, Color in the Canopy 2008 Bott-Borghi-Bransom Legacy Award George Lockwood, Fatal Attraction Geordie Millar, Walking #4 Presented in 2008 to Charles Allmond and John Schoenherr in recognition Rosetta, Wildebeest of the tremendous contribution they have made to Animal Art, their tireless Sue Westin, Texture & Nuance work for the SAA and their considerable personal efforts on its behalf.

2007 Bott-Borghi-Bransom Legacy Award The Leonard J. Meiselman Memorial The Hiram Blauvelt Art Museum Award for Realistic Sculpture Purchase Award Presented to Dorcas MacClintock in recognition of the tremendous Executed in an Academic Manner Paul Rhymer, Free Ride contribution she has made to Animal Art, her tireless work for the Ken Newman, Sun Seekers SAA and her considerable personal efforts on its behalf. The Haller Distinguished Young The Leonard J. Meiselman Memorial Artist Award For 2008 The Leonard J. Meiselman Memorial The Hiram Blauvelt Art Award for Realistic Painting Robert Caldwell Award for Realistic Sculpture Museum Purchase Award Executed in an Academic Manner Executed in an Academic Manner Dino Paravano, Going Hunting Susan Labouri, Saved By A Feather The Don Eckelberry Ken Rowe, Scholar of the Moon Scholarship Award The Haller Distinguished The Patricia Allen Bott Award Darin Miller The Leonard J. Meiselman Memorial Young Artist Award For 2007 for Creative Excellence (Painting Award for Realistic Painting Geordie Millar or Sculpture) The President’s Award Executed in an Academic Manner Dan Chen, Hit-And-Miss Peter Gray, Patas Perspective Robert Bateman, Meru Dusk The Don Eckelberry Scholarship Award The Evelyn and Peter Haller Memorial The Stanley Meltzoff The Patricia Allen Bott Award Kelly Singleton Award For Sculpture Memorial Award for Creative Excellence (Painting or Gerald Balciar, Mountain Boomer Paul Rhymer, Free Ride Sculpture) The President’s Award Geordie Millar, Walking #4 John Banovich, The Mason Family Foundation A Giant Among Giants Award for the Best Depiction of The Evelyn and Peter Haller Memorial Natural Behavior Award For Sculpture The Stanley Meltzoff Patricia Pepin, Emerald Encounter Leo E. Osborne, Eagle Song Memorial Award Kim Diment, Otter Confusion The Mason Family Foundation Award for the Best Depiction of Natural Behavior Patricia Pepin, Samburu Elephants

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2006 The Evelyn and Peter Haller The Evelyn and Peter Haller 2003 Awards of Excellence Distinguished Young Artist Award Distinguished Young Artist Award Awards of Excellence Jan Martin McGuire, Rock Retreat Ken Rowe Darin Miller Barbara Banthien, The Runway W. Leon White, The Night Watchman Joy Kroeger Beckner, Squirrel Season Pat Jackman, Neptune The Don Eckelberry Scholarship Award 2004 Andrew Denman, Network Louise Peterson, Chickadee Andrew Denman Awards of Excellence John C. Pitcher, Discernment, Golden Eagle Francis Sweet, Hot Afternoon John Schoenherr, Fox Hunt II Carel Pieter Brest vanKempen, Harris’s 2005 Steve Oliver, If Looks Could Kill Daniel Smith, Zero Tolerance Hawk & Chuckwalla Awards of Excellence Karen Latham, In the Light Ken Rowe, Blue Heron Gerald Balciar, Pride Pete Zaluzec, Bee-eaters The Hiram Blauvelt Art Museum Robert Bateman, On Salt Spring - Sheep Al Barnes, Ibis and Spoonbills Carel Pieter Brest van Kempen, Northern Purchase Award Carrie Gantt Quade, Charlotte Sandra Blair, Along the Fence Row Cacomistle Daniel Smith, Zero Tolerance Willem de Beer, First Snow of Winter Burt Brent, Eagle Skull Andrew Denman, Marina John Seerey-Lester, White on White Chapel, Ghost at the River The Patricia Allen Bott Creative Matthew Gray Palmer, Sea Bear Anne Faust, This is MY Chicken! The 2004 Bott-Borghi-Bransom Excellence Award (Painting or Sculpture) Ryan Jacque, Big Shoes to Fill Legacy Award Francis Sweet, Eyes on the Prize The 2006 Bott-Borghi-Bransom Joni-Johnson-Godsy, Here Comes Trouble Guy Coheleach Legacy Award A. E. London, Kitabu The Evelyn and Peter Haller Memorial Doug Allen Walter Matia, Pride The Hiram Blauvelt Art Museum Award for Sculpture Ken Newman, Turbulence on Horse Creek Purchase Award Burt Brent, Rhino The Leonard J. Meiselman Realistic Andrea Rich, Bearded Pete Zaluzec, Bee-eaters Painting executed in an Academic Manner Rachelle Siegrist, The Zookeeper’s Assistant The Evelyn and Peter Haller Award Ronnie Williford, A Slave to Fashion The Patricia Allen Bott Creative Distinguished Young Artist Award George Lockwood, Glacier Rams Excellence Award (Painting or Sculpture) Devin Laurence Field Ken Newman, Tale of Attitude The Leonard J. Meiselman Realistic The 2005 Bott-Borghi-Bransom The Leonard J. Meiselman Memorial Legacy Award Sculpture executed in an Academic The Leonard J. Meiselman Memorial Award for Realistic Painting Joseph Vance, Jr. Manner Award Award for Realistic Painting Daniel Smith, Zero Tolerance Walter Matia, Molly is a Working Girl Kalon Baughan, Teton Moose The Patricia A. Bott Award for Creative The Leonard J. Meiselman Memorial The Patricia Allen Bott Creative Excellence (Painting or Sculpture) Award for Realistic Sculpture Ken Newman, The Leonard J. Meiselman Memorial Excellence Award Turbulence on Horse Creek Diane Mason, Charlie and the Bug Award for Realistic Sculpture Mark Susinno, Batting Cleanup The Evelyn and Peter Haller Award Louise Peterson, Bella and the Bug The Donald R. Miller Memorial Award The Evelyn and Peter Haller Award for Sculpture for Interpretive Sculpture Chapel, for Sculpture Ghost at the River The Donald R. Miller Interpretive Tony Hochstetler, Stacked Frogs Ken Rowe, Blue Heron Sculpture Award The Leonard J. Meiselman Memorial Charles Allmond, Pre-Flight Don Eckelberry Scholarship Award The Mason Family Foundation Award Award for a Realistic Sculpture executed Jose Portuondo in and Academic Manner Al Barnes, Lunch on Deck The Evelyn and Peter Haller Gerald Balciar, Pride Distinguished Young Artist Award The Hiram Blauvelt Art Museum Kyle Sims 2002 Purchase Award The Leonard J. Meiselman Memorial Awards of Excellence Award for a Realistic Painting executed in James Coe, Spring Melt The Don Eckelberry Scholarship Award Charles Allmond, Joie de Vivre and Academic Manner Beatrice Bork Carl Brenders, Trick or Treat The President’s Award Rachelle Siegrist, The Zookeeper’s Assistant Kenneth Bunn, Vantage Point Nicholas Wilson, God’s Dogs Julie Chapman, Bare Naked Lady The Don Eckelberry Scholarship Award Simon Combes, Drought, Dust and Danger Dale Dyer Matthew Hillier, Into the Light

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Tony Pridham, Bobwhites Sunning Anthony Gibbs, Eye of the Stalker 2000 1999 John Seerey-Lester, Mara River Horse Nancy Howe, Inner Action Awards of Excellence Awards of Excellence Daniel Smith, River Horse Walter Matia, Bull Charles Allmond, Reunion Joy Beckner, Dreaming of Tomatoes Morten Solberg, Elk on the Yellowstone Leo Osborne, Song of the Pacific Northwest John Banovich, Eden Carl Brenders, Fireball Jeremy Pearse, Along the Delta Carl Brenders, Without Warning Charles Allmond, Northern Sphinx The Hiram Blauvelt Art Museum Patricia Peppin, Spontaneous Generation Burt Brent, Flying Mousetrap Terry Miller, Dansereye—Ostrich Purchase Award Sharon Sommers, Safety Patrol Ian Coleman, Queen Conch & Ross Matteson, Quail Call Julie Chapman, Bare Naked Lady Joseph Vance Jr., Moose and Old Beaver Dam Spotted Dolphins Leo Osborne, Ancient Traveler Matthew Hillier, Into the Light Kayomi Harai, Midnight Run Jeremy Pearse, Black Kite The Hiram Blauvelt Art Museum Cole Johnson, Missed Opportunity Mae Rash, Red-Winged Blackbird The Patricia Allen Bott Creative Purchase Award, Walter Matia, Bull Leon van der Linden, Soft Feathers, Paula Waterman, Spot of Sun Excellence Award (Painting or Sculpture) Soft Branches Nancy Darling, Bear—Alaskan Malamute John Seerey-Lester, Mara River Horse The Patricia Allen Bott Creative Tony Pridham, Paradise Lost Guy Coheleach, Leopard Lookout II Excellence Award (Painting or Sculpture) Rosetta, Alpha Pair The Evelyn and Peter Haller Memorial Robert Bateman, Long Light - Polar Bear Patricia Savage, George Bathing at Hatteras The Hiram Blauvelt Art Museum Award for Sculpture Eric Thorsen, Green Sea Turtle Pair Purchase Award Leo Osborne, Expecting to Fly The Evelyn and Peter Haller Anderson Yang, Trumpeter Swans Terry Miller, Dansereye Memorial Award for Sculpture The Elliot Liskin Representational Kent Ullberg, Ocean’s Silver The Hiram Blauvelt Art Museum The Elliot Liskin Memorial Award Painting Award Purchase Award for Painting Mark Susinno, The Interloper The Elliot Liskin Representational Kent Ullberg, Tree Shapers David Rankin, In the Heat of the Day Sculpture Award Painting Award Kenneth Bunn, Vantage Point Jeff Gandert, Suburban Wilderness The Elliot Liskin Memorial Award for The Leonard J. Meiselman Memorial Sculpture Award Representational Painting Award for Representational Painting The Leonard J. Meiselman Memorial Joy Kroeger Beckner, Good to See You Edward Aldrich, Diana Monkey Andrew Young, Bathing Award for Realistic Painting Al Barnes, Whoopers The Leonard J. Meiselman The Leonard J. Meiselman Memorial The Leonard J. Meiselman Memorial Award for Realistic Sculpture Realistic Painting Award Award for Representational Painting Award for Representational Sculpture Kent Ullberg, Solitude (executed in an academic manner) Jeremy Pearse, Indian Elephant Pati Stajcar, Glory Carl Brenders, On the Journey The Donald R. Miller Memorial Realistic Sculpture Award The Leonard J. Meiselman Memorial The Elliot Liskin Memorial Award for Award for Interpretive Sculpture (executed in an academic manner) Award for Representational Sculpture Representational Sculpture Steve Kestrel, La Luna Walter Matia, Bull Joy Beckner, A Good Life Tim Shinabarger, Before the Rush

The Bott-Borghi-Bransom The Donald R. Miller Memorial The Elliot Liskin Memorial Award for The Donald R. Miller Memorial Award Legacy Award Award for Interpretive Sculpture Representational Sculpture for Interpretive Sculpture Marilyn Newmark Leo Osborne, Song of the Pacific Northwest Pete Zaluzec, Bateleur Eagle Ray Carbone, Lone Dove

The Evelyn and Peter Haller The Bott-Borghi-Bransom The Donald R. Miller Memorial Award The Patricia Allen Bott Award for Distinguished Young Artist Award Legacy Award, Robert Kuhn for Interpretive Sculpture Creative Excellence Edward Royal Burt Brent, Flying Mousetrap Mae Rash, Red-winged Blackbird The Evelyn and Peter Haller Distinguished Young Artist Award The Patricia Allen Bott Award for 2001 Ryan D. Jacque Creative Excellence 1998 Awards of Excellence Carl Brenders, Without Warning Awards of Excellence John Banovich, River Dance Jodie Adams, Who’s Going First? Robert Bateman, Long Light—Polar Bear The Evelyn and Peter Haller Memorial Charles Allmond, Hindsight Carl Brenders, Gleam of Gold Award for Sculpture Chris Bacon, Long Billed Curlew Mark Eberhard, Ruddy Duck Walter Matia, Heron Peter Brooke, Relaxing Bear

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Trey Finney, Scarlet Flight The Hiram Blauvelt Art Museum Activities Press Print Award The Elliot Liskin Award for Matthew Hillier, Lion Siesta Purchase Award John Banovich, 104th Congress Representational Painting Steve Kestrel, Jumpin Jack Flash Reneé Headings, Soul of Africa Bob Kuhn, Helter Skelter Robert Kuhn, Down to the Scraps Wayne Trimm, Menu, Jackrabbit Wildlife Art Magazine Award Walter Matia, Nothin’ But a Hound Dog Dee Smith, Le Roi Soleil George McMonigle, Trevor Wildlife Art Magazine Award The Elliot Liskin Award for Lanford Monroe, Winter Chill John Banovich, The Defensive Line The Leonard J. Meiselman Memorial Representational Sculpture Richard Sloan, The Wild Bunch Award for Realistic Sculpture Richard Loffler, Savannah Francis Sweet, The Leonard J. Meiselman Memorial Sun Worshippers Walt Matia, Wild Turkeys Anderson Yang, Winter Award for Realistic Sculpture The Donald R. Miller Award for Richard Clopton, Leap Frog The Elliot Liskin Memorial Interpretive Sculpture The Hiram Blauvelt Art Museum Award for Painting Leo Osborne, Desert Watcher Purchase Award The Elliot Liskin Memorial Chris Bacon, Light Waves Lanford Monroe, Winter Chill Award for Painting Dino Paravino, Contented Mother The Elliot Liskin Memorial 1994 The Leonard J. Meiselman Memorial Award for Sculpture Awards of Excellence Award for Realistic Sculpture The Elliot Liskin Memorial Chris Bacon, Robert Glen, Lioness Chasing Vulture Stone Chat Walter Matia, Nothin’ But a Hound Dog Award for Sculpture Carl Brenders, Rocky Camp Reneé Headings, Soul of Africa Carel Pieter Brest van Kempen, The Donald R. Miller Award for The Elliot Liskin Memorial Gripping Tail Interpretive Sculpture Award for Painting The Donald R. Miller Award for Richard Loffler, Greyhound Leo Osborne, The Berry Pickers Guy Coheleach, Sunspots Interpretive Sculpture Judi Rideout, Close Encounters Didier Debruyne, Gotcha John Seerey-Lester, Phantoms of the Tundra The Elliot Liskin Memorial 1995 Sue Westin, Mangrove Rose Award for Sculpture Awards of Excellence Joan Binney Ross, Bearritz 1996 Bennington Center for the Arts Purchase Burt Brent, Barnyard Watchdogs Awards of Excellence Award & Activities Press Print Award Guy Coheleach, Victoria Falls—Lilac The Donald R. Miller Award for Chris Bacon, White-Breasted Nuthatch Dee Smith, Silver Glen Sunset Breasted Roller Interpretive Sculpture Burt Brent, Reclining Sable Ulco Glimmerveen, European Tree Frogs Chapel, Spindrift Carel P. Brest van Kempen, Optimism Wildlife Art News Award Nancy Howe, Little Melody John Felsing, Light in a Sylvan Field Greg Beecham, Morning Glory Walt Matia, English Pointer Tony Hochstetler, Lionfish and Sea Squirts Terry Miller, Over the River and 1997 Nancy Howe, Lullaby The Leonard J. Meiselman Award through the Woods Awards of Excellence Alan Hunt, Northern Majesty for Representational Art Leo Osborne, Desert Watcher Chris Bacon, Spring Ross Matteson, Predawn Quail Mary Taylor, The She Wolf Hank Tyler, Resting for the Day John Banovich, White Rhino– Calvin Nicholls, Hawkeye Sue Westin, Holy Ground Blacksmith Plovers Leo Osborne, The Berry Pickers The Elliot Liskin Award for Carel P. Brest van Kempen, Orangutan Emily Parkman, Tomato Worm Representational Painting Activities Press Print Award & Asian Elephants Andrea Rich, Ravens in Hemlock Carel Pieter Brest van Kempen, Arnold Nogy, Narrow Escape Tim Cherry, Hare Ball Michael Riddet, Dynamics Gripping Tail Ian Coleman, Little Blue Heron Dee Smith, Le Roi Soleil Wildlife Art Magazine Award Mark Eberhard, Newfound Gap Robin Francis Sweet, Twilight II The Elliot Liskin Award for Randal Dutra, In His Domain Anthony Gibbs, Punchy Kent Ullberg, Ring of Bright Water II Representational Sculpture Bob Guelich, Fishing Rock Paula Waterman, Pelican Pair Cammie Lundeen, Buds The Leonard J. Meiselman Award Matthew Hillier, Snow Leopard Family for Representational Art Leo Osborne, Atlantic Evening The Hiram Blauvelt Art Museum The Donald R. Miller Award for Dwayne Harty, Algonquin Wolves Leon Parson, Black Hole Bull Purchase Award Interpretive Sculpture Jeremy Pearse, Sarus Crane Walt Matia, Wild Turkeys Burt Brent, Glacial Courtship

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The Hiram Blauvelt Art Museum 1992 Elliot Liskin Memorial Award Larry Norton, Sultry Day—Zambesi River Purchase Award Awards of Excellence for Interpretive Sculpture Elliot Liskin Memorial Award John Schoenherr, Early Risers Chris Bacon, Snake Bird Tony Hochstetler, Rhinoceros Beetle Donald Sible, Big Al Dan D’Amico, Waiting Game Anne Faust, El Cusingo The Elliot Liskin Award for Donald R. Miller Memorial Award SAA Members Choice Award Robert Kuhn, Cool, Cool Water Representational Painting Nancy Blauers, Macaws Burt Brent, Glacial Courtship Walter Matia, Otter Fountain Paul Bosman, Five O'Clock Shadow Stanley Meltzoff, Swordfish & Mako The National Tour People’s Choice Award Joan Hagen Ross, River Runners Leonard J. Meiselman Award 1988 Carl Brenders, Mother of Pearls Lindsay Scott, Threatening Skies Francis E. Sweet, The Stretch Awards of Excellence Eric Berg, Toad Activities Press Print Award The Donald R. Miller Memorial Award Carl Brenders, The Long Distance 1993 David Rankin, Queen of the Marsh Leo E. Osborne, Watching My Hunters Awards of Excellence Brothers Pass Esther Lidstrom, Elephant Charge Chris Bacon, Orinoco Goose Study The Leonard J. Meiselman Award for Leo & Lee Osborne, Waterline Carl Brenders, One to One Representational Art Robert Salo, Mountainside Bugler Dwayne Harty, Otter Jim Landenberger, Don’t Tread on Me 1990 Sherry Sander, American Bison Leo E. Osborne, Ancient Storyteller Awards of Excellence Morten Solberg, Arctic Nomads The Elliot Liskin Award for Robert Bateman, Bald Eagle Study, Series I Craig Wilson, Eagle Activities Press Print Award Representational Painting Paul Bosman, Brief Encounter Nancy Howe, Water Music Sue Westin, In the Tracks of Man Paul Bosman, High Noon Elliot Liskin Memorial Award Simon Combes, Tension at Dawn Charles Allmond, Dance of Life Wildlife Art News Award The Elliot Liskin Award for Donald R. Miller, Africa Nancy Howe, Water Music Representational Sculpture Daniel Ostermiller, Camille 1987 Eric Berg, Green Sea Turtle Dino Paravano, Cheetah with Cubs Awards of Excellence The Leonard J. Meiselman Award David Rankin, Sarus Cranes at Dawn Charles Allmond, Fred and Ethel for Representational Art The Donald R. Miller Award Donald Sible, Methuselah Paul Bosman, The Observers Walter Matia, Cranes for Interpretive Sculpture Richard Sloan, Amazon Backwater Alan Hunt, A Gathering of Swallows Patrick Bremer, Tiger Beetle W. Richard Stiers, Rascals Lars Jonsson, Red-Winged Blackbird The Elliot Liskin Award for Morten Solberg, At the Forest Edge Representational Painting The National Tour People’s Elliot Liskin Memorial Award Natalie Surving, Guido Liz Lesperance, The Watering Hole Choice Award Donald Sible, Methuselah J. Kent Ullberg, Double Header Charles Fracé, Reflections Monument The Elliot Liskin Award for Anthony Gibbs, A Bachelor’s Life Donald R. Miller Memorial Award Sue Westin, Among the Feeding Stones Representational Sculpture Rosetta, Panther Sherry Sander, Foxes on the Bayou 1991 Leonard J. Meiselman Award 1986 The Donald R. Miller Award for Awards of Excellence Simon Combes, Tension at Dawn Awards of Excellence Interpretive Sculpture Robert Bateman, Homage to Ahmed Douglas Allen, An Early Winter Steve Kestrel, Trickster Paul Bosman, Five O'clock Shadow Gerald Balciar, Lucy Tony Hochstetler, Rhinoceros Beetle 1989 Robert Bateman, Grizzly The National Tour People’s Laurence Isard, Water Bears Awards of Excellence Edward Bierly, Fox on the Run Choice Award Leo E. Osborne, Watching My Gerald Balciar, Puddle Jumper Joan Hagen, Everglades Newborn Carl Brenders, One to One Brothers Pass Beverly Bender, Seldom Seen Alan Hunt, Snow Leopard David Rankin, The Green Pool Patrick Bremer, Cricket Hunter Walter Matia, Marsh Masters The Hiram Blauvelt Art Museum Don Ray, Three Bonefish and Crabs Carl Brenders, Talk on the Old Fence Sherry Sander, Kudu Purchase Award & SAA Members Joan Hagen Ross, In Clover Donald Grant, Jaguar and Cubs Morten Solberg, Monarch of the Sky Choice Award Francis E. Sweet, The Stretch Alan Hunt, Gone But Not Forgotten Natalie Surving, Iguana Iguana Dennis Anderson, Glutton Rob Maclntosh, Shear Grace Rhinotopia

147 1985 1981 Awards of Excellence Awards of Excellence Dennis Anderson, Lyin' in the Sun Beverly Bender Dennis Anderson, Missing Lunch Raymond Ching Patrick Bremer, Hellgramite Guy Coheleach Guy Coheleach, Raritan Fox Robert Guelich Richard Keane, Angora Robert Kuhn Robert Kuhn, A Fondness for Water Alderson Magee Lanford Monroe, Fourth Morning David Plank Leo and Lee Osborne, Aerialist Natalie Surving, Monitor Lizards John Schoenherr, Canadienne 1980 Awards of Excellence 1984 Lesia Anson Awards of Excellence Robert Bateman Kenneth Bunn Nina Akamu, Fighting Lions John Clymer Gerald Balciar, Arctic Reunion Randy Dutra Guy Coheleach, Brightwaters Creek Robert Kuhn Bard Cosman, Royal Red Macaw Terry Matthews Bob Kray, Lonely Quest Stanley Meltzoff Sherry Sander, Shore Patrol C. E. Monroe, Jr. J. Kent Ullberg, Double Header J. Kent Ullberg Scott Woolever 1983 Awards of Excellence 1979 Dennis Anderson, Fishing Tackle Awards of Excellence Guy Coheleach, Siberian Chase Robert Bateman Shane Dimmick, Teddies Guy Coheleach B. J. Martin, Zarafah Robert Kuhn Jim Morgan, Flooded Field J. H. Matternes Diane Pierce, Zebra Duikers C. E. Monroe, Jr. Joseph Sheppard, Rabbits John Pitcher Nico Vosloo, Etosha Dawn Sherry Sander John Schoenherr 1982 Keith Shackleton Awards of Excellence Morten Solberg Gerald Balciar J. Kent Ullberg Lawrence Braun Lee Cable Guy Coheleach Joseph Fornelli Charles Fracé Frank Gee J. Kent Ullberg

148 ArtAND THE ANIMAL

The Society of Animal Artists, Inc. with headquarters in New York, New York

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

For information, contact:

David J. Wagner, L.L.C. Art and the Animal Tour Office Phone: (414) 221-6878 [email protected] american-wildlife-art.com

For membership information, contact:

The Society of Animal Artists, Inc. Colorado Business Office 5451 Sedona Hills Drive Berthoud, Colorado 80513 Phone: (970) 532-3127 [email protected] societyofanimalartists.com societyofanimalartistsmuseum.com

Designed by David Rankin Graphics, Cleveland, Ohio, USA • [email protected] 149