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The National Orange Show Events Calendar689 South “E” Street • San Bernardino, CA 92408

(909) 888-6788 • (909) 889-7666 Fax

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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 he 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, 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

Ernest F. Garcia

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 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, DDSChairman, Board of DirectorsNational Orange Show

William E. Leonard

1

SHELDON HORTON Reservoir, 1949. Oil, 45”x32”

First juried show, rst selection: the beginning of a collection, a reservoir in Claremont long since gone.

2

SADAMITSU FUJITA Sunday at the Beach, 1949. Watercolor, 32”x27”

In good company as a rst purchase.

3

GUY L. MILLER Polygamy, 1949. Redwood sculpture, 12”x20”x25”

A bold and powerful work, also part of the beginning

4

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 1945 and graced our collection in 1950.

5

SHEILA HANSBERGER Lunch Sack, 1993. Watercolor, 21”x14”

“An orange in every lunch.”

6

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.

7

WILLIS Untitled, 1994. Watercolor, 30”x28”

8

S.D. CALSON , 1966. Oil, 42”x 27”

9

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 Inland communities.

10

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 senses to color, line, shape, and form.”

11

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.

12

BETTY J. HADLEY From Dawn’s Lemon Tree, 1994. Watercolor, 20”x 17”

13

BOSWORTH LEMERE Fatsea Leaves, 1954. Silver gelatin print, 20”x 16”

14

MARY SUE TURLEY Untitled, 1980. Acrylic, 58”x 53”

15

E. SIMONI Carpenter, 1955. Oil, 32”x 28”

16

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.”

17

JOHN JONES Still Life, 1956. Watercolor, 22”x 30”

18

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.”

19

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.”

20

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.”

21

SIMON KENNEDY John Brown’s Farewell, 1956. Stone sculpture, 13”x 12”x 20”

“A bold yet sensitive piece.”

22

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.

23

WM. R. SHULGOLD Art Student, 1955. Oil, 32”x 38”

A rest for contemplation.

24

MARY CLARK CARLSON Sea Garden, 1976. Intaglio, 19”x 18”

“A highly embossed representation of sea life.”

25

RALPH PEPLOW Rabbit, 1950. Stone sculpture

The creativity of the artist chipped away everything that wasn’t a rabbit.

26

ARDELLE ANTONELLI Sunset Celebration, 2006. Watercolor, 35”x 40”

27

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.”

28

ARTIST UNKNOWN Abstract Figures, c1960. Oil 44”x 36”

29

DAVID ROSALES Lakeside Artist, 2004. Oil, 48”x 48”

30

ALICIA RADAKOVICH Still Life With Lemons, 1985. Watercolor, 20”x 17”

“I paint from life.”

31

MARY W. BACKER 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.”

32

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.”

33

RICK CUMMINGS Crazy Weather, 2008. Mixed media, 30”x 40”

“I am a self-taught artist. My art is sometimes fun, sometimes very serious – even socially provocative, sometimes funny and serious at the same time.”

34

JEFFREY FRISCH Ellis B, 1983. Collage, 18”x 14”

Texture, texture, texture.

35

MURIEL DOLEMIEUX Parfum D’ Orange, 2007. Acrylic, 22”x 30”

“Nature inspires me and is my means of expression to translate emotions and feelings.”

36

CAVIT, c1987. Acrylic

37

SPARKS Untitled, 1959. Oil, 40”x 19”

38

GUS HARPER: Citric Energy II, 2004. Oil, 30”x 36”

“I think how we view the world impacts everything around us. My goal is to share the spectacular in the everyday.”

39

D. ANDRIAN Dark Girls, 1982, Oil, 48”x 40”

40

TONY ELLIS Oranges on a Striped Cloth, 2007. Acrylic, 12”x 12”

Toni Ellis was a self-taught contemporary realist, specializing in still life.

41

EJNAR HANSEN Sailor, 1951. Watercolor, 28”x 33”

He taught at the Pasadena Museum of Art and was a member of the California Watercolor Society.

42

JEFF OWENS Blue Goose, 1981. Watercolor, 36”x 24”

43

DAVID SCOTT Tercer Orden, 1950. Watercolor, 37”x 30”

Former head of the Art Department at Scripps College. Degrees from Harvard, Claremont and UC Berkley. In 1963, was an Assistant Director of the National Collection of Fine Arts, Washington D.C.Former President of the National Watercolor Society.

44

THELMA DEGOEDE SMITH Morendo, 1971. Oil spray, 37”x 49”

“My interest is color and what illusions can be produced by subtle relationships of hue, value, and color.”

45

BEVERLY GREEN From the Other Side, 1970. Watercolor, 17”x 30”

A unique combination of intaglio and painting.

46

TOM KIOBE Untitled, 1971. Light sculpture, 8”x 8”x 29”

“Here is another product of discoveries in light, combined with recent developments in plastics.”

47

DALE HENNESEY End of Navoo, 1954. Watercolor, 41’x 24”

48

DAVID ALFARO SIQUIEROS Abstract Composition, 1960. Artist proof, 30”x 20”

A gift from the San Bernardino-Villa Hermosa Sister City Committee.

49

KEITH FINCH Head, 1953. Oil, 21”x 41”

A Mournful Harlequin.

50

JEFF OWENS The Landing, 1970. Oil, 39”x 19”

“Landing” was based on drawings done along the coast of Northern California.

51

SIMON KENNEDY Dreaming Carpenter, 1954. Stone sculpture, 15”x14”x 21”

Primarily self-taught, he worked in stone and wood. Headed the sculpture division for the Works Project Administration (WPA) during the Great Depression.

52

DOUGLAS MCCLELLAN Burn Area, 1954. Oil, 36”x 39”

Mr. McClellan served on the Orange Show Art Committee. He taught at Chaffey College and Scripps College in Claremont. He also served as Dean at Otis Art Institute in Los Angeles.

53

RON OLDS Time Machine, 1970. Intaglio print, 14”x 16”

This color intaglio added diversity to our collection.

54

ANDERS ALDRIN Two Trees, 1956. Watercolor, 34”x 26”

“Color is the force of Aldrin’s artwork. Arthur Miller praised his distinctive blend of expressionist, fauvist and modernistic style for his ability to ‘make colors sing.’” – Julie Armour.

55

DOUGLAS PARSHALL Still Life, 1957. Watercolor, 31”x 25”

“It seems to me that my interests have been in relating some direct impressions of what I have seen or actually experienced.”

56

JOHN KWOK The Quest, 1976. Watercolor, 41”x 31”

57

DANIEL NOBORI Yama, 1977. Lacquer, 42”x 30”

“Yama means mountain in Japanese. It looms in the distance.”

58

ARTIST UNKNOWN (three immortals above ten praying men), 1957. Chinese silk painting, 66”x 33”

59

ARTHUR M. UNDERWOOD Ivy, 1955. Silver gelatin print, 16”x 20”

60

EDWARD KITSON Drawing #5, 1972. Drawing, 32”x 25”

61

JANE KEPFORD WOOD Cliff Shapes, 1973. Mixed media, 24”x 22”

62

GWENLYN NORTON Orange Show, 2006. Oil, 60”x 11.5”

“Art to me is like breathing – a natural state of being in the ow of creativity.”

63

JOHN LAW WALKER Sea Bird. Wood sculpture, 9”x 9”x 37”

The artist nds a piece of wood, and in it a suggested form. A sea bird emerges.

64

BERN GITTLEMAN Girl in Striped Skirt, 1952. Oil 21”x30”

65

NOEL QUINN Sur Country, 1964. Oil 50”x 48”

“I cannot recall ever having had instruction in the handing of oil paint… my oil painting techniques evolved from experimentation and exploration.”

66

JEROME GRIMMER Looking Back, 1968. Acrylic, 36”x 31”

“I was teaching my students to look for and nd beauty and interest in commonly overlooked things.”

67

CORINNE WEST Jamaica Washerwoman, 1967. Oil, 25”x 37”

68

ROGER CAMPBELL Untitled, 1975. Colored pencil, 30”x 24”

“A collage that isn’t.”

69

ERIC B. ISMAY Baby with Bowl, 1975. Ink, 24”x 24”

70

ROGER KUNZ Interior, 1957. Oil 31”x 38”

“Roger saw the majesty of the commonplace and with the leanest of tools gave us these documents.”– Jack Zapac.

71

T. JOHN CRISTO Boy at Window, 1952. Watercolor, 28”x 33”

This painting seems to lean heavily on the style of the Northwest Native Americans.

72

SCOTT BRODIE Double Face, 1958. Wood sculpture, 13”

73

JOHN H. HORTON Wood Sculpture, 1955. Wood sculpture, 5”x 4”x 23”

74

RUSH WHITE Einstein, 1972, Etching, 30”x 40”

75

EDDIE SAENZ Lifting Citrus Highlights, Oil, 30” x 24”

Just as sunlight and leaves conspire to make oranges, highlight designs are also produced. The forklift is seen ready to transport these natural blueprints of an orchard.

76

YENI BURGOS Orange Burst, Acrylic, 28” x 22”

While other trees wait for their blooming stage, my orange tree blooms through the summer and gives juice oranges through the winter and I thought, how twisted.

77

DAVID SCHEPPS Jazz At The Carlyle. Oil, 16” x 24”

I have always thought that Jazz has mood and texture both in sight and sound. I wanted to capture this in the painting.

78

ANTHONY RADCLIFFE Omega Terminal. Oil, 24” x 36”

The inspiration for Omega Terminal came from a black and white photograph a friend took while visiting Paris. The colors were created in my mind. I was struck with the early morning rush of people in a building that seems to go on forever, all eager to reach some nal destination.

79

JILL JONES Sedona Cliffs, Mixed Media, 30” x 22”

The Southwest marked my memory with vivid colors, patterns and images which I transformed into a series of artworks of which “Sedona Cliffs” is one of two pieces.

80

MURIEL DOLEMIEUX Oranges En Noir & Blanc. Acrylic, 24” x 24”

My painting is gurative. Nature inspires me and is my means of expression to translate emotions and feeling. Nature is beautiful, I don’t try to embellish or transform it, I just see it.

81

KATHY PAULUS Manderin And Grapes. Pastel, 8” x 10”

I love to challenge myself to achieve all the details in a still life painting. The grapes certainly challenged me in this piece.

82

JUDITH SPARHAWK Grove Harvest. Photography, 18” x 24”

Though a simple capture of crates of oranges straight from the grove, this photograph is meant to represent the richness of the harvest and the importance of our citrus heritage and its historical impact on the Inland Empire.

83

DAVID ROSALES Mid-Century Modernist. Oil, 35” x 35”

This painting is of my friend and local artist Louis Fox who has been a source of inspiration to me for many years. This painting was done in the spirit of his sense of humor.

84

ALFONSO MENDEZ Cosmic Flow, Mixed Media, 48” x 36”

“In abstract art, reality isn’t painted. Therefore, abstract art doesn’t express that reality. It is another reality, the reality of our interior.

85

ALFONSO MENDEZ Lovers Under the Orange Moon, Acrylic, 48” x 36”

“In this global world I can’t stay with the same style of shapes. I am concerned with texture, color, glazes, even geometry. Thus, I always nd wonders in abstract art exercises or gurative art.”

86

DAVID FAIRRINGTON Orange, Oil, 13” x 8”

American Artist U.S. Army Vietnam Combat Artist

87

ADEOLA DAVIES-AIYELOJA Standing Tall, Enamel on Copper, 9” x 11”

88

ADEOLA DAVIES-AIYELOJA Sunshine Glory, Hand colored Photo Etching, 11” x 14”

A juxtaposition of photographic imagery etched on solar plate and intaglio and hand colored.

89

HUGH HUFFMAN Point Loma Lighthouse. Watercolor, 11” x 14”

90

ROBYN READY ROTH Eques Rising. Acrylic, 40” x 50”

A work that depicts a lustrous play of colors. The horse being the muse takes the viewer on a journey of ascending curvaceous hues leading to an explosion of light.

91

JOHN HARRIS BROBEHURST Lemon Lux. Photography, 19” x 48”

92

RICHARD JOHNSTON Sea Foam, Bronze, 5” x 20”

93

BILL NORD The Wanderer, Photography, 16” x 20”

National Orange ShowBoard of Directors

2019

Dr. Robert Percy, ChairmanDonald H. Freemont, Chair-Elect

Sean S. Varner, TreasurerPatrick O’Reilly

Dr. Patrick Garcia, Immediate Past ChairmanLarry Curti

Donald D. GalleanoJulie M. Rynerson Rock

Dr. Ernest GarciaBruce D. Varner

Robyn JutzyBrian Smith

Dan Jimenez, CEO/President/GM

National Orange ShowFoundation Board

Wilfrid Lemann, ChairmanLarry Curti

Don GalleanoDr. Ernest Garcia

Bruce Varner

Marguerite Garth(all photographs and cover design)

Marguerite majored in photography at UCLA, but worked in the fashionIndustry as a designer for several multi-national companies before returningto her true passion. Since that time she has garnered many awards, includingtwo first place awards at the LA County New Photography competition. She has had several solo shows, including one in Soho, New York and also in San Francisco. She has been shown in over fifty group shows, where she was thefeatured artist in several. Her work encompasses both traditional fine artphotographic techniques and the latest in high tech technology utilizing adigital darkroom. She can be reached at: garthm@csusb.edu.

(from “The Nature of Emptiness” collection_old Indian)

2008 - 2018 photography by Bill Marquez

The National Orange Show Foundation is recognizedfor its generous contribution to this project.

Dorothy Garcia is acknowledged for her research and editing assistance.

Printed by Crown Connect, San Bernardino, CA 92408

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