A Local Arts & Crafts Find

The Arts & Crafts era has always been my favorite.  Over the years I’ve gathered little things here and there that capture the lines, colors, weight and labor of that period.  I also get the occasional Arts & Crafts book.

A couple of weeks back I went to an estate sale and found this rather interesting chair.  It was $90.

a&cchair1

Heavy and with a nice old leather seat, it was low to the ground and very comfortable.  You can’t see the size but it has a slightly wider and deeper seat than most arm chairs.  There were also interesting curves…the seat back curves down, and the arms have the little extra curved pieces.

Oregon Chair Co. Arts & Crafts ChairIt is in rather rough shape surface-wise.  It has been varnished and that is chipping away, but it is really solid.  It does not creak anywhere…

Here’s what really got me excited though!  When I flipped over the seat to look at the underside, I saw this label.

a&cchair3There was a company in Oregon called the Oregon Chair Company and I did find a little write-up about it in the book Arts & Crafts of the Pacific Northwest.  I also found a little obit piece about it’s founder, Arthur Kingsley.

He spent his early life in his native state, where he acquired a common school education and when yet a lad in years he began providing for his own support as an employe of the Flint & Pere Marquette Railroad. He spent a few years in that connection and then became an employe of the Grand Ledge Chair Company, with which he remained for a period of eight years. At length, having acquired comprehensive knowledge of every phase of the business he determind to start out independently and leaving Michigan in the summer of 1906 he came to Portland, where he organized the Oregon Chair Company. He was the pioneer in this field and up to this time all trade of the kind had been conducted with eastern firms, so that Mr. Kingsley had to overcome custom and prejudice in establishing his business. He persevered, however, and his industry, determination, fair and honorable methods and his progressiveness at length brought their reward, and today the business of the Oregon Chair Company stands as a monument to the energy and ability of Mr. Kingsley.

 

Oregon Chair Company

 

Aside from these couple of write-ups, and two historic photos from Oregon State, I can’t seem to find much else. I am intrigued with this company if anyone knows more?

 

 

 

Advertisements

36th Portland Int’l Film Festival starts!

blancanieves

PIFF 36 is here!  The opening night film was a great start to the festival –

You should see Blancanieves when it comes your way –  a Spanish version of the Grimm fairy tale Snow White…with bullfighting at its core. Set in the 20s, this b/w silent film has gorgeous cinematography and a moving score.   It was Spain’s submission for Best Foreign Film.   This little piece of art was directed by Pablo Berger.

Deep Thoughts from the Underground

view looking up to street level through sidewalk bricksI took this picture when I was in Seattle’s underground.  The purple squares are the little glass bricks that everyone at street level is walking on.  And underneath?  Ferns! That little bit of light is enough for them to take root and grow.  It is strange to think they know nothing of the enormity of things on the other side of the glass.

Just imagine what one of those ferns would think if liberated to the Olympic Peninsula? Would it be thrilled to be surrounded by Jurassic plants and trees or would it miss the underground where it never gets frostbitten or nibbled on by deer?  I sometimes see this picture and I think “poor ferns!” and other times I think that they’ve got a pretty sweet thing going.

Farm to Fork in Parkdale, Oregon

delicious pear growing at Kiyokawa Family Orchards

 

Last Saturday I got to finally see what the Farm to Fork experience is all about.  We drove about 2 hours to Parkdale, Oregon, just beyond Hood River where we met up with my brother and his wife.

The evening started around 3:30 with a little wine and taking in the surroundings.

You three look great! (Joe, Shawn, Mt.Hood)

 

We then took off on a tour of the farm.  Kiyokawa Family Orchards has an amazing variety of apples and pears which we snacked on a little as we learned about the history of the farm and the local farming community (which is made up of some of Oregon’s hippest farmers for sure).

There were about 160 people this evening which made for one very long table :)  Pass me the butter?  And at the way far end Conde Nast was there taking photos.  It didn’t hurt that the great weather and setting sun gave us all warm honey glows.

view from the end of the table – you can’t even see the other side!

 

The food was amazing – all from the chef at Celilo in Hood River. There was a colorful salad with baby beets, and watermelon – the watermelon had been vacuum packed earlier which compacted the watermelon, concentrating the flavor. There was a sophisticated ‘b.l.t’ made from little cherry tomatoes, smoked pork belly, greens and bread crumbs.  The main course of pork shoulder was cooked sooo perfectly.

This was my first time to a Farm to Fork event, but it certainly won’t be my last!  Their year is winding down, but here’s the link should you want to try it out next year: Farm to Fork .  I can only speak for the Hood River one, but I hear the others are fantastic too!  Have you been to one?

Signing Artwork and Prints – Who Knew??

As I’ve improved in my botanical work, I’ve been curious about how I might eventually create prints or cards from some of my works.  A couple of months back, I completed a botanical that I thought would be a good one to use in exploring this next step.

When I finished my picture, I signed it and sent it off to be scanned and to get a couple of giclee prints made which I’d hoped to eventually gift or sell.

The good great news is that I actually SOLD a print…and to someone who wasn’t a friend or relative.

What I didn’t know at the time was that there were many other steps that I should have thought through before I started selling prints. Here are a couple of things I learned…

Think about how you’re signing your original.  Do you want your signature to be bold or discreet on the original.  Are you going to sign the print too? Are you signing it in a way that would make a second signature look redundant?

beet with wrong signature

I not only signed my original in a not too discreet way…but also way off to the side.  I’m not sure why I did that! And when it came to the print, I didn’t sign it.  I didn’t know that you should. But had I signed it, I think it might have looked a little redundant.

2. If you are making prints, particularly giclee prints, are there a limited number of prints you’ll make?  You should think about that. Giclee prints are not just ‘copies’ of the original.

I didn’t even think about the numbering I see on prints  (“1/250” for example).  The numbering tells the buyer how many are out there or expected to be out there.  It would have been nice to give my buyer print number 1!  But I didn’t even sign the print, let alone number it.

My botanical instructor, Jeanne Debons, has helped me understand print numbering a bit more. You can order prints as you need them, but you need to keep track of what number you are on.  If I had done prints that were, say, in a series of 25, and I reached number 25, that’s it!  It wouldn’t be right for me to start another ‘series’ of the same print. Having said that…if you really think it will sell, don’t limit your series to something small like 25.  Maybe make them x of 250 or x of 500 🙂

So…I redid the signature on the original in a more discreet place.

beet with better signature

…got the original rescanned, and got new giclee prints made. I will sign and number my prints going forward, starting with #2 because I’m going to track down my first buyer and give her a ‘correct’ #1 print! And I know that my work is still improving, so I’m going to limit this beet series to 50.

I am sure there are still many other points I’ve yet to consider, but this is a learning experience for me and I welcome your feedback!

And here’s the beet!

golden beet

beta Vulgaris

You Tell Me…

polly

We got a new (slightly used) border collie mix a few months back…about the time I last posted. Her name is Polly, and she’s amazing!

More than one person has told me that she looks like Scrat from Ice Age. You tell me…

Scout passed away one day last summer (acute arrhythmia). We miss her and talk about her often. We’re also very glad to have a new friend in the house.

pencils down…for a minute

I have been loving exploring colored pencils and learning more about how, when used correctly, they can give an illustration that watercolor look. I love this because I’VE ALWAYS HATED working with watercolor. It’s the most unforgiving medium I know of.
After looking at a lot of botanicals though, I see that watercolor is the medium of choice. Hmm…
Last weekend I decided to face two of my fears head on – driving in the snow alone all of the way over the hill to Bend, Oregon (fear #1) to attend a two-day botanical painting workshop in watercolor (fear #2).
The snow was a cake walk, and the workshop was a blast! Jeanne Debons is a botanical artist and instructor who lives in Bend. One of the classes she leads is a two-day workshop in the fundamentals of botanical painting in watercolor.
I attended the class with three others – all at varying skill levels, but all well above me. No problemo – I was there to learn 🙂
Jeanne started me on a reintroduction to painting shapes – spheres, cones and rods…enough to learn how to shade, and ‘move paint around’.

painting shapes


First thing I learned:
I learned that not only is it OK for watercolors to touch one another (I always thought that was a no-no), but that layering the color is what gives depth and luminosity to a painting. (maybe this is just so for botanicals – not sure).
Once I practiced a bit I moved on to my piece! A pepper. I had to sketch it, and then use that sketch as a base for a more detailed picture showing the shading. Then that piece was what I referred to as I painted. My pepper started out pretty lame though.
Second thing I learned:
Paintings go through a phase Jeanne calls adolescence. In this phase paintings look awkward, and you often want to pitch it, but they’ll grow out of this phase as you continue working with them.. An earlier me would have thought this concept hokey, but I saw it firsthand and its true! The eggplant in the first pic up top is still in its adolescent phase.

Painting a pepper

I worked on my little pepper for the rest of day 1 and a LOT of day 2. Sure enough – it started to come together. It’s not a perfect pepper, but I learned a lot in painting it.

Here’s my pepper after about 2 hours.

pepper after about 2 hours work

and here’s the same pepper after about 4 or hours:

pepper after about 4-5 hours work

The third thing I learned was:
patience.

I came home and continued practicing. This little tangerine has taken me three days!

watercolor tangerine