proceeds would go to America’s VetDogs that trains
service dogs for veterans.”
Keenly aware of the problems associated with
having an art collection in a light-filled environment
with high humidity, they have taken steps to protect
it. “We have a humidifier and an air purifier,” she
explains, “and we have protective shades when the
sun is bright.” He adds, “There are cushions at all
four corners of the frames to hold them a quarter
of an inch from the wall to allow them to breathe.
Usually in old frames it’s the bottom of the frame that
gets the mold.”
The joy the collectors exhibit recounting their
meeting the artists and participating in the growth of
their careers is almost palpable. But it’s living with
the art that gives them joy. She relates that she likes
to get into her pajamas at the end of a day and sit
with a glass of wine looking at the art. “We never get
tired of it,” he says. “Never, never, never!”Beginning at the top left are, left to right, Mian Situ’s oil The
Prospector, John Fawcett‘s watercolor Buffalo Hunter, Bonnie Marris’
oil His Hideout, G. Harvey’s oil Light Morning Showers, Francois
Koch’s oil Blackberry Creek, Daniel Smith’s oil Prairie Thunder and Z.S.
Liang’s oil Reflections. Beneath them are—left to right, top to bottom—
Richard Schmid’s oil Captain John’s Tomatoes, Scott L. Christensen’s
oil Switzerland Summer, Kathy Anderson’s oil Blue Ageratum and
Marigolds, Mian Situ’s oils Roping at the Ranch and Innocence, Michael
Godfrey’s oil Clear Morning, Scott Tallman Powers’ oil The Loyal One,
Brittany Weistling’s oil Eleanore’s Chores, Jeremy Lipking’s oil Blue Eyes
and Mian Situ‘s oil A Touch of the Market.The collectors seated in front of Kyle Polzin’s oil El Villista.