The title of this is Toros and it measure 30 by 41 inches. The bright, white spot between the two silk-screened images of bulls is a reflection of the sun. My PhotoShop skills are a bit rusty I am afraid. More of Erin’s work and her biography may be seen on her website http://www.eringoodwin-guerrero.com/===========================================================
Jeff RingerThere are three of Jeff Ringer’s watercolors in our collection. His work is quite whimsical, but with undertones of mysterious sexuality. In The Wizard, there is a large, oafish looking guy wearing a wizard-style hat (complete with moon and stars), odd shoes like those one imagines a court jester might wear, what appears to be a nightgown top, and no pants, exposing his genitalia. He is waving a wand near a diminutive woman with fairy wings, dark hosiery and a garter belt.
Done in 1990, its dimensions are 13-1/2 by 9-1/2 inches.Also painted in 1990 is one titled Dr. Bombay.
Dr. Bombay was apparently a character on the television show Bewitched. I am afraid this represents something of a gap in my education. This particular Doctor Bombay has something evil-looking peering from his hat, and wears a tie featuring a naked woman. Perhaps Jeff had some strong interest in Elizabeth Montgomery. Dr. Bombay measures 9-1/2 by 6-1/2 inches.The third watercolor was don in 1991.
Titled Self-portrait with Nude, it shows Jeff’s self-portrait to be of a skull wearing a top hat. The skull is reminiscent of voodoo imagery, somehow. All three seem to have about them an aura of sex and hocus-pocus. Self-portrait with Nude is 6-1/2 by 4-1/2 inches.=========================================================
Mick SheldonA recent item has entered our collection. It is a piece of “netsuke” by Mick Sheldon.
True to form, Mick has referred to this 1-1/2″ tall ceramic item as being “Micksuke”.
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Raymond Rowley King
A change has taken place on these pages. The works of Raymond Rowley King that are in our collection are now displayed on a separate page under the title of Edwards Pedersen Collection of Raymond Rowley King. Because of the large number of pieces and the amount of detail shown, keeping them on the main page makes viewing and navigating the page difficult.
======================================================================= Gale Hart
One of the larger pieces in our collection is by Gale Hart. It is titled Forced To Wear Makeup. 
The premise is that rabbits are harmed by cosmetic companies that use them to test the allergic reaction to cosmetics. It is on stretched canvas 41 inches by 71 inches. It appears to be done in acrylic.
Actually, my wife [Edwards] insists that the title of the painting is “You Can’t Make Me Wear Makeup”. If you look closely at the expression on the rabbit’s face, there is an attitude of defiance in the image. I aquiesce to the greater understanding of the work of Art.
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Gary Viviano
Recently added to our collection is another work by Gary Viviano. It was acquired from the Dolores Dietler Collection.
The piece is mixed media on wood, and is 23 1/2 inches in diameter.
The first piece by Viviano was acquired in 1988. It is titled The Real Fun Doesn’t Start Until th Wee Hours of the Morning.
This is a mixed media drawing on paper and measures 30 inches by 40 inches. The image turned out fairly well considering that it is framed with a glass cover. The picture was taken outside in full sunlight, but on a cloudy day. The work was recently re-framed or, more specifically, the frame was taken apart and reassembled minus a moth that had hatched in side the sealed frame and crawled into roughly the middle of the picture before dying.
There are a number of interesting elements in the structure of the work. Two men are standing on a see-saw device while two nude women sit on their shoulders and wrestle with each other. A “referee” sits on a tall chair in the background. A man is emerging through a hole in the floor carrying a shovel … his head may be seen just to the left of the man in light-colored shorts. A tree branch is in the room upon which hangs a gym sock. Some poor fellow sits on the sofa chair covering his eyes so as to not see.
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Annie Murphy-Robinson
We have just acquired a sanded charcoal drawing by Annie Murphy-Robinson. It is of here daughter Emily and is titled Trophy. 
Its dimensions are 29″ by 42″, unframed. =====================================================
Gillian Hodges
These nine ceramic slab masks were acquired from Beth Jones at the Jennifer Pauls Gallery when it was on 10th Street between J and K Streets. 
They have hung, stretched out in a line, over the window in the master bedroom. Gillian taught at Sierra College, Nevada County Campus in Grass Valley, CA. There is an outdoor sculpture garden at that campus, named in her honor. 
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Adit (Edith) Pank
This work was acquired from a dealer in Israel in late 2009. Adit Pank has a successful career illustrating children’s book. In the 1970s she was a protégé of Raymond Rowley King. A painting by King was our first acquisition. ==================================================
Ted Yasuda
Late in 1963 or early 1964, I came across an art gallery in Stockton named Harlequin House Gallery and was run by an artist named Maxine Dalben. It was there that I acquire a second painting. It was an oil on canvas, 24″ x 12″ done by Ted Yasuda and is titled Division III.
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Maxine DalBen
Dec. 29, 1920 – Mar. 3, 2011 Age 90, of Stockton.
Years after purchasing the work by Ted Yasuda, I was in Stockton by chance and found that the Harlequin House Gallery was still there and that Maxine DalBen was still alive. She had a number of very good paintings stored above the gallery, which, in the main, contained several looms and served as an instructional area for weaving.
Maxine had been living in the area of Stockton during the winter of 1955 to 1956. That was a year of horrendous rain and potential flooding. Levees broke on the Feather River in the area of Yuba City. The Feather River is a tributary to the Sacramento River and exits the mountains just north of Oroville. Flooding occurred throughout the delta area around both the Sacramento and San Joaquin areas. Ironically, Folsom Dam had only recently been finished and held back the waters of another tributary to the Sacramento River, the American River. Had the dam not been there, much more flooding would have occured. This piece is titled Delta Flood 1955 – 1956.
This work is one of the smaller pieces in the Delta Series. It is oil on canvas, 40″ x 30″ of a farm house near Stockton stranded by the flood waters. This work was created with an experimental technique. The Maxine made a reverse drawing of the farmhouse, trees and fencing on a hard surface such as masonite. She then applied a wash of grays, blues and browns onto the canvas and kept the surface ‘wet’ with a medium such as turpentine. Then she pressed the canvas against the drawing to transfer the ‘print’ onto the canvas, adding details after.
There was a period of years during which Maxine DalBen lived and worked in the small Sierra community of Amador City. As you head south on old, historic Highway 49 from Placerville (once known as Hangtown and before that, Old Dry Diggins) you join Highway 16 out of Sacramento and continue on a winding mountain course, cross a bridge over Rancheria Creek then, rounding a curve to the left, you drop down into Amador City. (Now you have to make a special effort to go to Amador City because of a new by-pass.) When the old highway turns to the right, you go straight instead past the Post Office and up a slight hill.
At School Street, you turn left on to East School Street and motor uphill past the old school house to Church Street. It is there, at that northwest corner, that the old Battaglia House stands. From School Street walking north on Church you pass a vine covered wall made of flat stones from local soil. They are colorful in ways that make the viewer of the canvas think that artistic liberties have been taken. It is not true. All the colors are there, but now they are hidden under vegetation. In fact, when we first went to take a look, there was an ugly motorhome blocking the view. 
Oil on canvas, 60″ x 24″, circa 1967.
Here is a photo of what the wall looks like today. 
To the left of the house there is still some exposed rock wall. Compare the colors of the rocks in the photo with colors of the rock wall in the painting. 
Many similar rocks may be found along Rancheria Creek. Maxine and a few other painters would hike from Amador City down to the creek along an old trail that once served as a short cut to another settlement now long gone. There was a meadow along the creek where they liked to paint. Unfortunately is was inhabited by rattlesnakes. One imagines several artists walking along an overgrown trail wearing tall leather boots to guard against bites. It was in this setting that these four painting were created. I will work in future toward better color correction on the reproductions. These were shot in shade, so the illumination was the blue sky. 
Though I have said that these were all done on Rancheria Creek, that is an error that I made in the presentation of these four. They are all oil on canvas utilizing a similar pallette and all four measure 16″ x 12″ and all were done in the 1970s, but one of them was actually painted in the city limits of Amador City, California. The steps shown in the third painting lead up to St. Joseph’s Catholic Church. “The church was built probably in the 1870s and I think was used until WWII. When the population of Amador City shrunk to only 202 people, the parishoners in A. C. were taken in at Sutter Creek nearby and the church was left empty.”, communication from artist dated 4/6/05. Maxine did like to experiment with different techniques. Her variation on collage was to apply paint to large sheets of rice paper allowing them to dry Each sheet was in a different color within the pallet range that she wanted, however the application of paint was not uniform. When forming the image on canvas from a live model, she would tear off pieces of the various colors of paper and glue them in place. The earliest of these was a reclining nude here shown enlarge for detail. The work is 48 inches by 24 inches and was photographed from an oblique angle to eliminate glare. 
Another, somewhat older model presents a pleasant posterior view. This work is also 24 inches by 48 inches. Done in 1975, the actual title is Danae and on the back the inscription on the frame reads, “Once I stood and felt the golden shower. Now I am chilled without it.” Done on Masonite. 
The largest piece in this collection is of Diana the Hunter. The same model is used who posed for the Reclining Nude. 
The dimensions of this work are 48 inches by 72 inches. Below is the face in detail. 
This is a depiction of a tranquil little stream. I believe that it is also on Rancheria Creek. The dimensions are 24 inches by 48 inches. and is oil on canvas. Once again, this was photographed outside in the shade so that the illumination is from the blue of the sky. 
This last oil painting, titled Road to Volcano, is difficult to photograph in that it looks very differently depending on the lighting. This shot of it was taken with the painting facing the sun on a slightly overcast day. The dimensions are 40″ by 30″. 
If there are any questions about this artist or if you have any further information, you may contact us at collectedartworks(AT)hotmail(DOT)com. ———————————————————————————————–
Eugene Garin
Around the same time that I had visited the Harlequin House Gallery, I knew an artist named Victor Heady. He had learned some of Raymond King’s techniques while the two were “in the Joint”. I had met him when I worked in an art gallery in Sacramento in late 1963 and found that he had started his own gallery out on Fulton Avenue. I mentioned that I could put him in touch with a painter who did some rather popular seascapes. Later, through Victor, I was able to assist my mother in purchasing one of those seascapes through Victor. It is by that process that she acquired, and upon her passing, I gained, a painting by Eugene Garin. 
Victor went to visit Eugene Garin in his studio in Bryte over in Yolo County. Eugene showed him that he had a series of scrolls that he coul pull down from hangars on the ceiling. On each scroll were paintings of various elements used in his paintings … a rock jutting up out of the sand; a bit of shoreline, waves, boats. He was able to use a pantograph to transfer the images on to a canvas using a pencil. Once the layout was complete, he would add paint, including his “luminous waves”. Garin had come to this country from somewhere in Russia. He worked, at that time, as a janitor for Montgomery-Wards. He had managed to get them to offer his paintings for sale along the basement hallway leading to where the payments were made on revolving charge accounts. Over time he had sold many paintings, all with the same 24″ by 48″ canvas, and all of them appearing to be rather similar in composition. I had mentioned this to Victor. He took it up with Eugene and encouraged him to put more variety into his creative output. Soon the scenes began to become more variable. Different ships were added. Large and sometimes more rocks were depicted on the shore. Larger canvases were sometimes offered He began to sell more and the prices rose. Eventually, he was able to quit his janitorial job and paint full time. After a while he moved to Carmel.
Victor Heady
I do have two of Victor’s smaller works, acquired recently. The first one is of a single house of Victorian style standing by itself. This is on canvas about 9″ by 10′. 
The second is also of a Victorian-era house titled Victorian Cityscape. This one is shown at night and has a full moon in the background. There are other structures nearby. It is 12″ x 9″ on 1/4″ Masonite. 
These two paintings represent Victor’s early attempts at painting using a narrow band of skills learned in prison from other inmates at Vacaville Medical Facility. There were a few patrons who were sympathetic toward him and purchased his works as a means to encourage him. Eventually, as a result of that encouragement, Victor attended the University of California at Davis and earned a degree in Fine Art. He moved to Southern California and set up a studio in San Miguel, Mexico. His palette brightened away from the dreary and depressing umbers and greys, and move into yellows, ochres and blues as he painted the city scenes in Mexico.
In October of 2011, I was able to acquire an additional nine paintings by Victor. I will present them on a separate page dedicated to his work, rather than to make this page a great deal longer.
Victor Heady died on May 7, 2008 after a long battle with cancer. If there are any questions about this artist or if you have any further information, you may contact us at collectedartworks(AT)hotmail(DOT)com. ==================================================
Ken Waterstreet
Ken Waterstreet has a refreshing approach to painting. He is never one to take the world of Art too seriously. He likes to play with the notion of what art should be. This painting is as good an example as I have seen. 
In this 55″ x 41″ acrylic on canvas titled Excursion VI from 1983, we see six of his students who have accompanied him on a field trip, probably to San Francisco. There is a bit of mischief associated with posed group pictures of students … but there is more. At first glance, it seems that someone has taped a child’s fingerpaint picture on to the canvas. In fact it is only the two pieces of tape that are not a part of the painting. 
The dangling legs of the two colorful “fingerpaint” characters dangle below in shadow for. Another “fingerpaint” character looks at us from the rearview mirror. 
Similar faces in textured black paint laugh at us from the darkend windows in the background. 
Students in painting are (from left to right) Norm Anderson, Sean Minot, Bryan Borovec, Alex McNeill, Kathy Harp and Diana Buselli. Other works by Ken Waterstreet may be seen at: http://www.manevolves.com/ken-waterstreet/ ==================================================
Joseph Craven
Two mixed-media works painted by the mandolin player Joe Craven in 1987 supply a contrast. Both are 32″ x 40″. The first is a depiction of a woman who seems to find style in cacophony. The various elements of style include lipstick, gauntlet gloves depicting serpents, a Saudi headband with white cloth to shelter the neck, sunglasses, a native breastbone ornament and a pink tutu. There is an inserted postcard of a woman dressed up to play the part in the two-act opera La fille du régiment by Gaetano Donizetti. She salutes near an American flag. Perhaps it represents the eternal search, on the part of many women, for style, and for the acceptance of their “tastes”. 
The second piece is not of a kind with the first. The title of this second work of the same size by Joseph Craven is The Discovery of Beauty. This work can bring about moments of confusion. The inserted postcard shows six women carring tall baskets on their heads whil dressed in full burkhas. (It bears the inscription, “Luxor. A group of Native Women.” (sic)). There are design elements on the sides that suggest Native American culture. That is echoed in the bead-work that covers her eyes. There is something like a “shadow” of the beads on her forehead and “something streaks from near her eyes and across her cheeks past her bright red lipstick. While the visual symbolism may remain obscure, a verbal message does not. There can be great pain and sorrow in the discovery that you have “beauty”, for that at once attracts when present and in its full, but can repel when age begins to take its toll upon that beauty. It has been suggested that the model for this series of paintings may have been a man. 
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Susan Keizer
Who Would Have Guessed It by Susan Keizer is from 1987 and is of acrylic on canvas, (83″ x 59″). 
Susan described the works in this series as having been imaginings of the prow of a ship cutting through water. In our home, this painting hangs on a wall painted tomato red. Susan B. Keizer’s works may be seen at: http://susankeizer.com/ ==================================================
John Tarahteeff
This piece by John Tarahteeff is 20″ wide by 22″ high. It is acrylic on canvas and was painted in 2003.
The artist’s name appears to be C. Cableton. It is 18″ x 12″. The third piece purchased on that trip was a wood-cut print titled “B. C. Fishing Boats”
This one was labelled 2/100, meaning that it was the second print struck from the wood block. At the art gallery, a clerk explained that the artist was keeping his options open as to what the final product would be … in the 3rd or the 47th or the 100th iteration. I have mentioned this concept to other artists and one or two of them were “shocked” at this revelation. It was the intention of the atrist to vary the outcomes of the printing process with-in the same series. Some small part of the linoleum might be altered, or the colors might be changed. The outrage on the part of those others that the artist would do such a thing seemed odd at the time. For my part, I would like to see how subsequent prints turned out. The print is 14½” x 11¼”. It was these three works that were the beginning of a resumption of the collection of art works after almost a ¼ century drought. If anyone can identify these three Canadian artists, you may contact us at collectedartworks(AT)hotmail(DOT)com. I would appreciate the information.
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R. Babcock
On some occasions, a good piece can be found in an odd place. One of the works by Victor Heady had been picked up at a yard sale in Sacramento. On one weekend, I went to the Concord Flea Market with a friend. He was looking for tools and electronic parts. I was just looking for things that were unusual. This piece signed, “R. Babcock” caught my eye. 
It measures 13-1/2 x 16-1/2″, without the matting. The medium appears to be ink with either water color or some sort of pastel marking pen. The subject appears to be involved in some sort of bondage scenario. Here is a detail of the head. 
If anyone can identify the artist, you may contact us at collectedartworks(AT)hotmail(DOT)com. I would appreciate the information.
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Frankie Hansbearry
This piece, titled “Rooted” was picked up on bid at the Bra Show at Forty Acres Gallery in Oak Park, Sacramento. It is a ceramic piece by Frankie Hansbearry. 
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Milton 510 Bowens
We acquired this piece in silent bidding at the re-opening of Forty Acres Gallery under the guidance of the artist Bowens. 
It is mixed media on canvas measuring 23″ x 20″. More of his work may be found at www.milton510.com . This piece was recently framed for us by Darling Oldham Neath (D. Neath) at Archival Framing. ==================================================
Corey Okada
These two are among the smaller paintings that Corey Okada does. I believe that they are done in acrylic. The first is titled Glory: 
The second is titled Knock Wood (Together Together): 
Both works measure 9 inches x 9 inches. I was first attracted to his because of his name. I attended junior high school with his aunt, Joyce Okada.
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Dawn Renee Pedersen An early work by Dawn Pedersen was a pen and ink rendering from a photo I had taken of her many years ago. 
In the background of the photo was a painting that I had done in the late 1960s. She is seen in a highchair having a bit of lunch. If I recall correctly, the drawing is about 10 inches wide. She did a similar rendering of a photo of her brother holding a chick. 
This one is about 10 inches tall. ===================================================
Lee Rose
Harvesting of rice in Colusa County, California was once accomplished by an awkward-looking machine captured in the oil painting by Lee Rose. 
The painting measures 24″ by 30″ and is on 1/4″ Masonite and was painted around 1977. There is a version of this harvestor in the Heidrick Ag Museum in Woodland, CA (http://www.aghistory.org/) and (https://www.facebook.com/Heidrick.Ag?ref=ts). ==================================================