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The National Orange Show Events Calendar 689 South “E” Street • San Bernardino, CA 92408 (909) 888-6788 • (909) 889-7666 Fax

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The National Orange Show Events Calendar 689 South “E” Street • San Bernardino, CA 92408 (909) 888-6788 • (909) 889-7666 Fax The National Orange Show Events Calendar 689 South “E” Street • San Bernardino, CA 92408 (909) 888-6788 • (909) 889-7666 Fax 15431 NOS Cover_r1.indd 4 5/21/19 1:06 PM 15431 NOS Cover_r1.indd 1 5/21/19 1:06 PM ABOUT THE COLLECTION Following a very successful art show sponsored by the San Bernardino Art Association in 1948, the National Orange Show Board of Directors decided to follow success by starting the All-California Juried Art Exhibition in 1949. Local artists responded with great enthusiasm and in ensuing years the competition to win at the Orange Show became intense and prestigious. In 1969 Karl Benjamin, an emerging artist and now internationally recognized, said ³7he Orange Show was the ¿rst exhibition I was in, so it has a special meaning to me. In 1960, there were few galleries in the Los Angeles area. There were four juried shows: the Los Angeles County Museum, Pasadena Museum, Orange Show, and Newport Harbor – and everyone sent paintings to them – getting accepted to those shows led to being accepted by the galleries.” Robert Wood was another early contributor and grew in stature in ensuing years. Francis de Erdely was well known in Europe when he came to the University of Southern California in 1945. In 1950, he entered his “Card Game,” which became part of the NOS permanent collection. John Edward Svenson, a sculptor well known for his many architectural sculptures, Ernest F. Garcia was also an early contributor with his 195 “Condor.” Fifty-¿ve years later he sculpted a second condor which was presented by the NOS to Jack Brown, CEO of Stater Bros. Markets for his many contributions to the community. There were years when the exhibitions were not held or consisted of high school art shows or traveling photography exhibitions. On some occasions, there was no opportunity to add to the permanent collection. In the ¿rst four decades of the competition there were few works that had a citrus theme after all the entire Orange Show Fair was a citrus theme! Elaborate creations and displays featured oranges, lemons, and grapefruit. The artistry of the displays was complemented by the exquisite smell of citrus. As the citrus industry waned, more paintings with a citrus theme were submitted to the annual competition. The ¿rst painting in that category to be added to the permanent collection was “California Indoor Orange Landscape” by Scott Brodie in 1979. In 1981, “Blue Goose” by Jeff Owens was accepted as part of the collection. By the late eighties, the citrus category was of¿cially added to the call for entries to complement a general category. In recent years, the additions to the permanent collection have been largely from the citrus category. After intermittent juried exhibitions in the eighties and nineties, a determination to locate, organize, clean, and in some cases, restore the collection came about in 2001. By 2003, the formal juried competition was resumed. It was decided in 2008 that the juried show would be suspended for one year and that the Orange Show permanent collection would be exhibited and dedicated to the memory of William E. Leonard. Ernest F. Garcia, Curator May, 2019 IN DEDICATION William E. (Bill) Leonard was dedicated to the betterment of the Inland Empire. In 1946 he joined Leonard Realty and Building Co, a ¿rm established by his Grandfather in 1905. He was a leading developer and founding director of Inland Action, Inc., a group of business, government and education leaders working together to move this region in a positive direction. Bill served the Inland Empire and the State of California as a member and leader of numerous boards, foundations and state commissions. Among these were, the California Highway Commission, the California Transportation Commission, the State Athletic Commission, the University of California, Riverside Foundation and the San Bernardino Valley College Foundation. But, the closest to his heart was always the National Orange Show Board of William E. Leonard Directors. He served as president of the NOS Board in 1966. Throughout his life, Bill was the consummate ambassador for the National Orange Show. One event that Bill took special pride in was the Juried Art Competition. The Art Competition was seen as central to the NOS’s mission to promote the culture and history of the region. Bill and his wife, Bobbie were major contributors to the ¿rst catalog in 1980. In recognition of his many accomplishments and contributions to the community and the National Orange Show, The NOS Board of Directors, the NOS Foundation, and the Juried Art Competition Board of Directors, have in perpetuity, dedicated this catalog, and all future Art Competitions to the memory of a man I am proud to call my friend, William E. Leonard. Patrick Garcia, DDS Chairman, Board of Directors National Orange Show SHELDON HORTON Reservoir, 1949. Oil, 45”x32” First juried show, ¿rst selection: the beginning of a collection, a reservoir in Claremont long since gone. 1 SADAMITSU FUJITA Sunday at the Beach, 1949. Watercolor, 32”x27” In good company as a ¿rst purchase. 2 GUY L. MILLER Polygamy, 1949. Redwood sculpture, 12”x20”x25” A bold and powerful work, also part of the beginning 3 FRANCIS DE ERDELY Card Game, 1950. Oil, 32”x31” Graduate of the Royal Academy in Budapest, studied at the Academy of San Fernando of Madrid, the Sorbonne, and the Louvre. Painter of royalty in Spain, the Netherlands, and Belgium. Came to USC in 4 1945 and graced our collection in 1950. SHEILA HANSBERGER Lunch Sack, 1993. Watercolor, 21”x14” “An orange in every lunch.” 5 GLADYS LEWIS BUSH Portrait of a Woman, 1951. Terracotta sculpture, 19”x12”x16” The fourth sculpture added to the collection in the ¿rst three years of juried competition. 6 WILLIS Untitled, 1994. Watercolor, 30”x28” 7 S.D. CALSON 5HÀHFWLRQV, 1966. Oil, 42”x 27” 8 JOHN EDWARD SWENSON Condor, 1952. Redwood sculpture, 9”x 7”x 28” Fifty-¿ve years after his Condor was added to the collection, he sculpted a second one for the National Orange Show in 2007. It was presented to Jack Brown of Stater Bros. for his many contributions to 9 Inland communities. JOHN B. CUNNINGHAM Breakfast Treat, 2005. Acrylic, 20”x 17” “My background in teaching biology gave me a keen interest in observation of detail and the philosophy, ‘If I can’t see it, I don’t paint it.’ Painting has enhanced my world of observation and heightened my 10 senses to color, line, shape, and form.” DAVID J. SRUBEL Barn, 1956. Oil, 49”x 39” His work was in many Southern California collections, including those of Anthony Quinn, Howard Ahmanson and Jack Linkletter. 11 BETTY J. HADLEY From Dawn’s Lemon Tree, 1994. Watercolor, 20”x 17” 12 BOSWORTH LEMERE Fatsea Leaves, 1954. Silver gelatin print, 20”x 16” 13 MARY SUE TURLEY Untitled, 1980. Acrylic, 58”x 53” 14 E. SIMONI Carpenter, 1955. Oil, 32”x 28” 15 BETTY DAVINPORT FORD Puma, 1950. Wood sculpture, 16”x 11”x 21” “The sculpture was one of about ten pieces I have done using the puma or cougar as subject matter. My work expresses my joy in the beauty of the creation of the earth and the creatures that inhabit it.” 16 JOHN JONES Still Life, 1956. Watercolor, 22”x 30” 17 KARL BENJAMIN 1968, Oil, 40”x 39” “An artist may paint the way he thinks he prefers, or in the direction he feels most signi¿cant, but ultimately he will paint the only way he can.” 18 BETTY HAIGHT Fusion Lemonade, 2007. Mixed media, 20”x 20” “My work is ¿gurative, but I have painted many different subjects over the years. Lemons have always been a favorite image of mine – implying freshness with a hint of danger.” 19 ROBERT E. WOOD Golden La Push, 1964. Watercolor, 40”x 31” “I think that painting is very personal event that evolves through experimental adventures into the unknown« I have always had an unexplained af¿nity for the watercolor medium.” 20 SIMON KENNEDY John Brown’s Farewell, 1956. Stone sculpture, 13”x 12”x 20” “A bold yet sensitive piece.” 21 LEE SITEMAN Esprit Terrestre, 1964. Wood sculpture, 6”x10”x 19” Extensive searches revealed no other work by Mr. Siteman. Our collection was enhanced by this acquisition. 22 WM. R. SHULGOLD Art Student, 1955. Oil, 32”x 38” A rest for contemplation. 23 MARY CLARK CARLSON Sea Garden, 1976. Intaglio, 19”x 18” “A highly embossed representation of sea life.” 24 RALPH PEPLOW Rabbit, 1950. Stone sculpture The creativity of the artist chipped away everything that wasn’t a rabbit. 25 ARDELLE ANTONELLI Sunset Celebration, 2006. Watercolor, 35”x 40” 26 PIRI J. MEE Ruby Harvest, 2006. Pencil drawing, 20”x 24” “What inspires me to draw are nature’s design patterns and intricacies of her creations. I work to represent, for example, the design of a single pomegranate.” 27 ARTIST UNKNOWN Abstract Figures, c1960. Oil 44”x 36” 28 DAVID ROSALES Lakeside Artist, 2004. Oil, 48”x 48” 29 ALICIA RADAKOVICH Still Life With Lemons, 1985. Watercolor, 20”x 17” “I paint from life.” 30 MARY W. B ACKER 301 No. 3rd St., 1991. Watercolor, 41”x 29” “The windows were boarded up and graf¿ti painted on them. I knew that this was part of Redlands history and I wanted to capture the essence in a painting.” 31 RALPH LOVE Cattle Shelter, 1966. Oil, 44”x 30” “This is my barnyard, or this is somebody’s haystack, I can ¿nd something of interest in it, I can ¿nd shapes and forms that are fascinating to paint.” 32 RICK CUMMINGS Crazy Weather, 2008.
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