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The National Orange Show Events Calendar689 South “E” Street San Bernardino, CA 92408(909) 888-6788 (909) 889-7666 Fax

ABOUT THE COLLECTIONFollowing a very successful art show sponsored by the San Bernardino Art Association in1948, the National Orange Show Board of Directors decided to follow success by starting theAll-California Juried Art Exhibition in 1949. Local artists responded with great enthusiasmand in ensuing years the competition to win at the Orange Show became intense andprestigious. 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: theLos Angeles County Museum, Pasadena Museum, Orange Show, and Newport Harbor – andeveryone sent paintings to them – getting accepted to those shows led to being accepted bythe galleries.”Ernest F. GarciaRobert Wood was another early contributor and grew in stature in ensuing years. Francis deErdely was well known in Europe when he came to the University of Southern Californiain 1945. In 1950, he entered his “Card Game,” which became part of the NOS permanentcollection. 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 asecond condor which was presented by the NOS to Jack Brown, CEO of Stater Bros. Marketsfor his many contributions to the community.There were years when the exhibitions were not held or consisted of high school art showsor traveling photography exhibitions. On some occasions, there was no opportunity to add tothe permanent collection.In the ¿rst four decades of the competition there were few works that had a citrus themeafter all the entire Orange Show Fair was a citrus theme! Elaborate creations and displaysfeatured oranges, lemons, and grapefruit. The artistry of the displays was complemented bythe exquisite smell of citrus. As the citrus industry waned, more paintings with a citrus themewere submitted to the annual competition. The ¿rst painting in that category to be addedto the permanent collection was “California Indoor Orange Landscape” by Scott Brodie in1979. In 1981, “Blue Goose” by Jeff Owens was accepted as part of the collection. By thelate eighties, the citrus category was of¿cially added to the call for entries to complement ageneral category. In recent years, the additions to the permanent collection have been largelyfrom 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, theformal juried competition was resumed.It was decided in 2008 that the juried show would be suspended for one year and that theOrange Show permanent collection would be exhibited and dedicated to the memory ofWilliam E. Leonard.Ernest F. Garcia, CuratorMay, 2019

IN DEDICATIONWilliam E. (Bill) Leonard was dedicated to the betterment of the Inland Empire. In 1946 hejoined Leonard Realty and Building Co, a ¿rm established by his Grandfather in 1905. Hewas 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 positivedirection.William E. LeonardBill served the Inland Empire and the State of California as a member and leader of numerousboards, foundations and state commissions. Among these were, the California HighwayCommission, the California Transportation Commission, the State Athletic Commission,the University of California, Riverside Foundation and the San Bernardino Valley CollegeFoundation. But, the closest to his heart was always the National Orange Show Board ofDirectors. 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 Competitionwas seen as central to the NOS’s mission to promote the culture and history of the region. Billand his wife, Bobbie were major contributors to the ¿rst catalog in 1980.In recognition of his many accomplishments and contributions to the community and theNational Orange Show, The NOS Board of Directors, the NOS Foundation, and the JuriedArt Competition Board of Directors, have in perpetuity, dedicated this catalog, and all futureArt 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

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 beginning3

FRANCIS DE ERDELY Card Game, 1950. Oil, 32”x31”4Graduate of the Royal Academy in Budapest, studied at the Academy of San Fernando of Madrid, theSorbonne, and the Louvre. Painter of royalty in Spain, the Netherlands, and Belgium. Came to USC in1945 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 NationalOrange Show in 2007. It was presented to Jack Brown of Stater Bros. for his many contributions toInland communities.9

JOHN B. CUNNINGHAM Breakfast Treat, 2005. Acrylic, 20”x 17”10“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 mysenses 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, HowardAhmanson 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”16“The sculpture was one of about ten pieces I have done using the puma or cougar as subject matter. Mywork expresses my joy in the beauty of the creation of the earth and the creatures that inhabit it.”

JOHN JONES Still Life, 1956. Watercolor, 22”x 30”17

KARL BENJAMIN 1968, Oil, 40”x 39”18“An artist may paint the way he thinks he prefers, or in the direction he feels most signi¿cant, butultimately he will paint the only way he can.”

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 alwaysbeen a favorite image of mine – implying freshness with a hint of danger.”19

ROBERT E. WOOD Golden La Push, 1964. Watercolor, 40”x 31”20“I think that painting is very personal event that evolves through experimental adventures into theunknown« I have always had an unexplained af¿nity for the watercolor medium.”

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”22Extensive searches revealed no other work by Mr. Siteman. Our collection was enhanced by thisacquisition.

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 sculptureThe 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 torepresent, 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. 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 Redlandshistory and I wanted to capture the essence in a painting.”31

RALPH LOVE Cattle Shelter, 1966. Oil, 44”x 30”32“This is my barnyard, or this is somebody’s haystack, I can ¿nd something of interest in it, I can ¿ndshapes and forms that are fascinating to paint.”

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.”33

JEFFREY FRISCH Ellis B, 1983. Collage, 18”x 14”Texture, texture, texture.34

MURIEL DOLEMIEUX Parfum D’ Orange, 2007. Acrylic, 22”x 30”“Nature inspires me and is my means of expression to translate emotions and feelings.”35

CAVIT, c1987. Acrylic36

SPARKS Untitled, 1959. Oil, 40”x 19”37

GUS HARPER: Citric Energy II, 2004. Oil, 30”x 36”38“I think how we view the world impacts everything around us. My goal is to share the spectacular in theeveryday.”

D. ANDRIAN Dark Girls, 1982, Oil, 48”x 40”39

TONY ELLIS Oranges on a Striped Cloth, 2007. Acrylic, 12”x 12”Toni Ellis was a self-taught contemporary realist, specializing in still life.40

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.41

JEFF OWENS Blue Goose, 1981. Watercolor, 36”x 24”42

DAVID SCOTT Tercer Orden, 1950. Watercolor, 37”x 30”Former head of the Art Department at Scripps College. Degrees from Harvard, Claremont and UCBerkley. In 1963, was an Assistant Director of the National Collection of Fine Arts, Washington D.C.Former President of the National Watercolor Society.43

THELMA DEGOEDE SMITH Morendo, 1971. Oil spray, 37”x 49”44“My interest is color and what illusions can be produced by subtle relationships of hue, value, andcolor.”

BEVERLY GREEN From the Other Side, 1970. Watercolor, 17”x 30”A unique combination of intaglio and painting.45

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.”46

DALE HENNESEY End of Navoo, 1954. Watercolor, 41’x 24”47

DAVID ALFARO SIQUIEROS Abstract Composition, 1960. Artist proof, 30”x 20”A gift from the San Bernardino-Villa Hermosa Sister City Committee.48

KEITH FINCH Head, 1953. Oil, 21”x 41”A Mournful Harlequin.49

JEFF OWENS The Landing, 1970. Oil, 39”x 19”“Landing” was based on drawings done along the coast of Northern California.50

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 ProjectAdministration (WPA) during the Great Depression.51