The
Muse
Newsletter of the Slater Memorial Museum
Fall, 2012
Milton Bellin and the Federal Arts Project
by Vivian F. Zoë
This Fall, from September 14, 2012 to January
6, 2013, the Mattatuck Museum in Waterbury,
Connecticut will present a new exhibition entitled
The New Deal’s Federal Art project in Connecticut
which will feature works by Milton Rockwell Bellin
(1913-1997), loaned by the Slater Museum.
A painter, printmaker, illustrator and muralist
trained at the Yale School of Fine Arts, the New
Haven-born Bellin was interested in murals early in
his career and from 1936 to 1937, after graduating
from Yale, assisted James Daugherty on murals for
Fairfield Court, a new housing project in Stamford.
In the Slater’s collection is a large body of work
by Bellin, including the iconic Death of Nathan
Hale (1935, gift of Thorne G. Bellin) in tempera on
masonite panel on display in the Slater’s Connecticut
Artists of the 20th Century.
The visual reference to the martyred Jesus is
strikingly evident in The Death of Nathan Hale.
Michelangelo’s Florentine Pieta could have served
as the compositional model for The Death of Nathan
Hale. While the figures of the British soldiers appear
menacing, the patriot clutching paper reflects the
suppressed will of the people. An African American
man, representing the most oppressed group in both
the Revolutionary and Depression eras, appears to
employ the utmost care in lowering the martyr’s
body.
The Death of Nathan Hale by Milton Bellin, egg tempera on masonite, 1935, from the collection of SMM.
Milton Rockwell Bellin was a nationally renowned
artist and Assistant Principal of the New York High
School of Art and Design. He received a Bachelor
of Fine Arts degree at the Yale University School
of Fine Art and studied with Yasuo Kuniyoshi.
(Continued on page 3)
A Message from the Director
Congratulations to our new class of Interpreters and Visitors’ Center volunteers. The
graduating class held a luncheon gathering at the home of classmate Mary Edgar in
June and planned their continuing studies. Graduating were: Hanni Curland, Mary
Edgar, Patricia Flahive, Kerry O’Keefe, Cathy Pearson, and Beth Troeger. We are so
proud and grateful to have these dedicated and well-trained museum guides. If you
know of a group hoping for a great experience focusing on the best in local history
and art and presented in a professional manner – please do refer them to us.
In addition to the assistance of these new long-term volunteers, the Slater Museum
enjoyed the involvement and efforts of college interns. Becca Marsie, of Eastern
Connecticut State University, Sarah Eagan of Columbia University, Jen Kowal, of
Johns Hopkins University, Maggie Edgar of Massachusetts College of Art and Design
and Aimee Rich of Brigham Young University each spent some part of the summer
working on collections migration, inventorying, re-housing and photography. Jen
continues to work on a new iPod tour. Members of the NFA class of 2010 Corey and Brock Howe have returned to
volunteer in the visitors’ center and assist with collections management. … And our stalwart, Barry Wilson sticks by
us through thick and thin.
UPCOMING EXHIBITIONS, PROGRAMS AND EVENTS
Saturday, Sept. 8
4:00 - 7:00 pm
3:00 pm
Opening reception Connecticut Women Artists.
Award ceremony at 5:30 pm. Please see page 5 for more information.
Rededication of William A. McCloy’s Aspirations.
Wednesday, Oct. 10
5:00 to 7:00 pm
lincoln exhibition opening Discussion and booksigning by
scholar Frank J. Williams. More info at www.slatermuseum.org
Thursday, Nov. 1
panel discussion The SMM hosts Lincoln scholars. Details TBA.
Saturday, Dec. 15
5:30 pm
LIVE AUCTION Remembering Paul Zimmerman, Part II. Reception
and auction event. Please see page 10 for more information.
The Muse is published up to four times yearly for the members of The Friends of the Slater Memorial Museum. The museum is located
at 108 Crescent Street, Norwich, CT 06360. It is part of The Norwich Free Academy, 305 Broadway, Norwich, CT 06360. Museum
main telephone number: (860) 887-2506. Visit us on the web at www.slatermuseum.org.
Museum Director – Vivian F. Zoë
Newsletter editor – Geoff Serra
Contributing authors: Vivian Zoë, Leigh Thomas
Photographers: Leigh Thomas, Vivian Zoë, Barry Wilson
The president of the Friends of the Slater Memorial Museum: Patricia Flahive
The Norwich Free Academy Board of Trustees:
Steven L. Bokoff ’72,
Jeremy D. Booty ‘74
Glenn T. Carberry
Richard DesRoches *
Lee-Ann Gomes ‘82, Treasurer
Thomas M. Griffin ‘70, Secretary
Thomas Hammond ‘75
Theodore N. Phillips ’74 Vice Chair
Robert A. Staley ’68
David A. Whitehead ’78, Chair
Sarette Williams ‘78
*Museum collections committee
The Norwich Free Academy does not discriminate in its educational programs, services or employment on the basis of race, religion,
gender, national origin, color, handicapping condition, age, marital status or sexual orientation. This is in accordance with Title VI,
Title VII, Title IX and other civil rights or discrimination issues; Section 504 of the Rehabilitation Act of 1973 as amended and the
Americans with Disabilities Act of 1991.
2
(Continued from page 1)
Office Scene, a panel depicting business education, he
portrayed women students busying themselves with
duties or lost in reverie.
The most popular aesthetic approach to the American
mural during this period was an accessible, realistic
style called the American scene, also called Social
Realism. It is perhaps most associated today in
the work of Thomas Hart Benton. This manner of
painting was encouraged by government projects
such as the WPA Public Works of Art Project and the
Section of Painting and Sculpture, which sponsored
murals for post offices, courthouses, schools and
other government properties.
The style reflects democratic, open values directed
toward every citizen, a social ideal closely aligned
with the notions of the New Deal, according to Vassar
College curator Patricia Phagan. “This was an era
when national identity played an overriding role in
Western culture, and especially so in American art.
In the midst of a devastating depression, the identity
of the nation became of overwhelming concern,
especially for Roosevelt’s New Deal administration
Self Portrait by Milton Bellin, egg tempera on panel,
from the collection of Vassar College.
Kuniyoshi was born in Okayama, Japan in 1893
and immigrated to America in 1906. He originally
intended to study English and return to Japan to
work as a translator. He enrolled at the Los Angeles
school of Art and Design, discovering his love for
the arts. Moving to new York City to pursue an art
career, Kuniyoshi studied briefly at the National
Academy and at the Independent School in New York
City, and then studied eventually at the Art Students
league, later teaching there. In 1935, Kuniyoshi was
awarded a Guggenheim Fellowship and was made
an Honorary member of the National Institute of Arts
and letters.
Bellin was part of an American movement of muralists
in the Depression’s Workers Progress Administration
(WPA). They followed the Renaissance model,
making drawings of individual figures, compositional
drawings and full-scale drawings for transfer to the
wall (cartoons). The movement included Bellin,
Thomas Hart Benton, and Ben Shahn. Bellin painted
a mural for the main building (Davidson Hall) at
Teachers College of Connecticut in New Britain, now
known as Central Connecticut State University. As
artist-in-residence at the time, he chose models for his
murals from the college population, his audience. In
Office Scene by Milton Bellin, study in charcoal, 1940.
3
dissolved, but it too was ineffectually. In an effort to
merge art and patriotic American values, Roosevelt
established the Works Progress Administration in the
spring of 1935 and the Federal Art Project several
months later.
The FAP was designed to supplement artists’ incomes,
fund patriotic art projects and rally demoralized
Americans.
Artists wishing to be considered for the Federal Art
Project were required to apply for Home Relief to
confirm they were impoverished. After submitting
samples of their work demonstrating that they were
actively creating art and being approved, they received
weekly stipends of $24 per week, the equivalent in
2012 dollars of a minimum of $320.
Lobster Shack by Edith Becker, watercolor, 1945 from
the collection of the SMM.
with its broad work programs to aid the unemployed
and re-build faith in the nation’s democratic ideals.
Artists, writers, photographers, folklorists, and others
employed by the federal government or working on
their own documented and interpreted American
life, paying special attention to distinctive cultures,
traditions, and histories.” Ms. Phagan curated “For
the People: American Mural Drawings of the 1930s
and 1940s,” in 2007 at Vassar College’s Frances
Lehman Loeb Art Center in Poughkeepsie, N.Y.. The
exhibition focuse on the flowering of American mural
painting.
Only a few months after the Federal Art Project was
announced, more than 1100 artists were working for
the WPA, many in the Mural Division, including
Milton Bellin, along with Stuart Davis, Jackson
Pollock and Arshile Gorky.
Artists competed to create murals in post offices
or other government properties, and in a variety of
public spaces including museums, hospitals, high
schools, housing projects, colleges, music halls, even
ships and nightclubs.
William Ashby McCloy, Edith Stepnier Becker and
Milton Bellin are artists represented in the collection
of the Slater Museum whose early work reflects the
era and the style.
Six panels in the New London Main Post Office
were painted by Thomas LaFarge for the New Deal
Art Project in 1938. Titles of the maritime-themed
murals include “Early Morning”, “Cutting-In” and
“Aloft.” As the son and grandson of two artists,
Bancel and John La Farge, respectively, and a sailor
himself, Thomas LaFarge was well-suited to depict
the demanding routines of whaling life. The Coast
Guard later called him “an experienced seaman, well
qualified to command.” Several years after completing
the murals, he traveled, as many New London whalers
of yore would have done, to Arctic waters. The cutter
he commanded foundered in stormy weather off the
eastern Canadian coast. The Coast Guard lists it in
a catalogue of doomed ships: Natsek; 17 December
1942; Lost (Unknown.) Grandfather John LaFarge
was a World- renowned artist in stained glass.
In the mid 1930s, the United States was gripped by
an intransigent global economic depression. As one
in a program of economic relief efforts for citizens
having trouble finding work, President Franklin
Delano Roosevelt established the Works Progress
Administration (WPA), created under Federal Project
One. Later, a subdivision of the WPA called the
Federal Art Project (FAP) was developed to aid some
of the hardest hit, unemployed artists.
Roosevelt had made earlier unsuccessful attempts to
provide relief for artists, including the Public Works
of Art Project (PWAP), lasting only a year, from 19331934. The Treasury Department Section of Painting
and Sculpture was created in 1934 after the PWAP was
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(Continued on page 6)
Connecticut Women Artists in
Converse Gallery and McCloy outside!
tions was recently re-installed in memory of Bill with
the support of McCloy family members Mr. and Mrs.
Edward McCloy, James McCloy and Amanda and
Robert Clark.
William Ashby McCloy (1913-2000) studied at Phillips Andover Academy, University of Iowa and Yale
University. He taught at Drake University, University
of Wisconsin, University of Manitoba, and, finally,
Connecticut College, where he remained for twentyfour years. Upon his death, he bequeathed literally
thousands of his life’s oeuvre to the Slater Memorial
Museum. His long, collegial friendship with former Slater director Joseph Gualtieri led him to create Aspirations, a core ten steel outdoor sculpture, in
1975-76 specifically for the Slater Memorial Museum
grounds.
Bison four by Jean Bronson Galli, watercolor, 2012.
Connecticut Women Artists Inc (CWA) will present
the 83rd Annual Open Juried Exhibition at the Slater
Memorial Museum in Converse gallery September 1
through 28, 2012. This national exhibit features the
work of many talented women artists in Connecticut
and across the country. The juror for the CWA exhibition is Cathy Malloy, Connecticut’s First Lady and
Chief Executive Officer of the Greater Hartford Arts
Council. Ms Malloy, acting as both juror and judge for
the exhibition, will assign awards for excellence on
behalf of Connecticut Women Artists.
About Aspirations, William McCloy wrote in 1976,
“The figure is involved in three kinds of action ….
Aspiration, Inspiration, and Adaptability: the first is
indicated by the sense of reaching for control of the
world, or for the moon, ... the second by holding out
of the flowers, a response to beauty … and the third
by the spear-like form …. The fact that the sculpture
is on a pedestal is an acceptance of the continuing
validity of traditional attitudes about man’s potential,
his ability to transcend the mundane and material.”
Connecticut Women Artists will host an Opening Reception on Saturday, September 8th, from 4:00 to 7:00
pm, in the Converse Art Gallery. Prizes will be awarded at 5:30. The event is free and open to the public.
With a membership of over 200 artists, Connecticut
Women Artists has supported and promoted women
in the visual arts for over 80 years. Sparked by the
1929 landmark exhibition of 13 women artists at the
Wadsworth Atheneum in Hartford, CWA has continued to promote annual exhibitions showcasing an array of works including drawings, paintings, sculpture,
printmaking, photography, fiber arts, and illustration.
All women artists residing in Connecticut are eligible
to become members after being accepted in two Open
Juried Exhibitions or by Portfolio Review.
Re-dedication attendees are invited to the reception in
Converse Gallery immediately following.
The CWA reception will be preceded at 3:00 p.m. by a
re-dedication of Aspirations , a core-10 steel sculpture
(1976) by William Ashby McCloy. De-installed and
placed in storage during the site work and grading to
improve utilities and drainage issues in 2010, Aspira-
Aspirations: Growth Through Education by William
Ashby McCloy, core-ten steel, 1976.
5
(Continued from page 4)
In 1984 he retired to Palm Harbor, Florida. Although
he was already seventy years old he continued to
paint commercially, and sometimes commuted to
New York to pick up and deliver jobs for General
Foods in White Plains. Work on his fine art actually
increased in Florida since his new home had a studio
large enough to hold his very large paintings.
Taking up Arms - 1776 by George Kanelous, 1940,
mural at the Norwich, CT Post Office.
George worked until the end of his life. His last
painting was finished just weeks before he passed
away. Ironically, he had named the painting “Gateway
to Heaven”. This painting along with a mural was
commissioned by the Holiday Inn UCF in Orlando.
The mural can be found behind the check-in counters.
George passed away in February 1998.
In Norwich’s Main Post Office, “Taking Up Arms-1776” was painted in 1940 by George Kanelous. A
contemporary of Milton Bellin, Kanelous was born in
1915 in Uruguay, of Greek parents and came to the
United States in 1918. He attended New Utrecht High
School in Brooklyn, New York and won a scholarship
sponsored by the Art Students League. Like Bellin,
Kanelous studied with Yasuo Kuniyoshi and worked
under noted muralist James Daugherty. Kuniyoshi
recommended Kanelous for a further scholarship to
study under him. After graduation, George joined
the W.P.A. when he painted the mural in Norwich. In
1958-59, he painted a 60’ x 12’ mural for Baldwin High
School which was later featured in Time magazine.
In the early 20th century, murals were most commonly
painted in oil on canvas or in the manner of fresco;
tempera on raw plaster. In the manner of Renaissance
muralists, Bellin started Office Scene with a cartoon.
Following an academic process, artists made several
preparatory drawings in graphite or charcoal. These
would include sketches of individual figures from life
as well as compositional experiments. At the college,
Bellin prepared linen with white shellac, traced his
cartoons onto the primed fabric, painted the traced
lines with black and white tempera and finally applied
color with oil paints. In later years these paintings
were removed and some were lost. In the five-panel
series, Bellin celebrated education as a life-long
endeavor. His salary for painting the murals was paid
by the WPA’s Federal Art Project with funds for costs
of supplies and installation raised from alumni and
the community.
In the late 196Os and early 1970s, he had several
one-man shows at the Phoenix Gallery in New York
City. His shows were so successful that he was elected
president of the gallery. Most of his paintings sold at
these shows are now in private collections, and there is
no record of what they looked like or who owns them.
Any help in identifying these would be appreciated by
the family.
Although he worked for many years on his paintings,
most will never be seen by anyone. Being a perfectionist
he was never happy with many of his paintings, and as
a result he would create a new painting on top of the
previous one. This habit resulted in few paintings to
show for his decades of work.
The painting, Charging Bull Elephant, was an example
of his devotion to detail. The dust being kicked up by
the charging bull’s foot had to be brushed on. This
never looked right in his mind, and to change this
meant the legs and feet needed to be repainted before
a new dust could be applied. He repainted the legs and
feet no less than six times until he was happy with the
dust.
Charging Bull Elephant by George Kanelous, acrylic
on canvas
6
the female office worker or sop girl, the FAP artists
placed African Americans realistically into the scene.
Milton Bellin’s death of Nathan hale exemplifies this
phenomenon.
By 1940, the WPA instituted a rule stipulating that
artists be rotated. They were laid off for at least one
month after 18 consecutive months of service with the
Federal Art Project. By June 30, 1943, the Federal Art
Project disbanded and ceased providing funds of any
kind to artists. Nearly 200,000 artworks were created
under the Federal Art Project, many of which have
since become lost or were destroyed and in December
1943, the government auctioned off thousands of
WPA-funded paintings. From a warehouse in Queens,
paintings were sold by the pound and buyers in some
cases acquired works that would become worth a
fortune for a few dollars. Among those sold were
paintings by Milton Avery, Mark Rothko and Jackson
Pollock, all worth millions today.
Goin Home by Thomas Hart Benton, 1929
During the Great Depression, formerly wealthy
collectors and patrons stopped buying art and
sponsoring the careers of artists. Galleries went out of
business. Artists, seeking common ground, produced
paintings, drawings, murals and prints in which urban
and industrial scenes coexist with images of the land,
suggesting connections between working people.
The FAP encouraged this pluralistic approach. At this
time, artists, writers, musicians, actors, photographers,
filmmakers, folklorists, and others employed by
the federal government documented or interpreted
American life and its regional cultures, traditions,
and histories. Their goals included creating and
celebrating a particular American image eschewing
movements taking hold in Europe after the First World
War like cubism and DaDaism.
Bellin’s Backyards (o/c, n.d.), Esso Truck & Tanks
(H2O, n.d.), Dusk Parked Cars (H2, 1939) exhibit
the same consummate draftsmanship, expert material
handling and affection for the prosaic. In these three,
he sings the inherent beauty of the everyday in midCentury America
Milton Bellin left works valued at the time in excess
of $30,000 to CCSU (2000), a fund to Vassar for
acquisitions and scholarship funds to Emerson
College. Bellin’s technique, in egg tempera on panel
and ink and gouache on paper respectively, was
characterized by meticulous attention to detail and
perfection of surface.
The audience toward which this work was directed
was invariably the common man and the artists strived
to make their work fully accessible. Nevertheless, the
work’s Regionalist style was sometimes faulted for
being too interpretive rather than strictly academic.
Its reassuring images of the American heartland, as
seen in the work of Thomas Hart Benton and the
early work of William Ashby McCloy were viewed
by critics as too literal, concrete and even “rural.”
When the Depression and World War II finally ended,
indeed, Abstract Expressionism flooded the American
art scene.
The Regionalist vision of America included many
powerful depictions of the African American
experience as in John Steuart Curry’s Manhunt, a
variation on a 1931 painting of the same title, which
shows a lynch mob in Kansas. Along with the common
white male farm, factory or construction worker,
Dusk (Cars parked on street with houses) by Milton
Bellin, watercolor, 1939, collection of the SMM.
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Lincoln: The Constitution and the Civil War
Abraham Lincoln was elected the sixteenth President
of the United States in 1860, at a time when the nation
was falling apart. By the time he took the oath of office, seven states had already seceded from the Union.
The exhibition vividly evokes Lincoln’s struggle to
resolve the basic questions that divided Americans at
the most perilous moment in the nation’s history: Was
the United States truly one nation, or was it a confederacy of sovereign and separate states? How could a
country founded on the belief that “all men are created equal” tolerate slavery? In a national crisis, would
civil liberties be secure?
The Slater Memorial Museum will bring a new traveling exhibition to Norwich from the American Library Association (ALA) Public Programs Office, in
collaboration with the National Constitution Center
(NCC) in Philadelphia . “Lincoln: The Constitution
and the Civil War” will run October 10 through November 30, 2012. The exhibition is funded by a major
grant from the National Endowment for the Humanities (NEH) to the National Constitution Center.
Using the Constitution as the cohesive thread, “Lincoln: The Constitution and the Civil War” offers a
fresh and innovative perspective on Lincoln that focuses on his struggle to meet the political and constitutional challenges of the Civil War. Organized
thematically, the exhibition explores how Lincoln
used the Constitution to confront three intertwined
crises of the war—the secession of Southern states,
slavery, and wartime civil liberties. Visitors will leave
the exhibition with a more complete understanding of
Abraham Lincoln as president and the Civil War as
the nation’s gravest constitutional crisis.
The National Constitution Center is one of the nation’s
most exciting new museums and a leading provider of
constitutionally themed education programs. Created
through the Constitution Heritage Act of 1988, the
NCC addresses the need to better educate Americans
about their Constitution and citizenship rights and responsibilities. Its mission is to increase public understanding of, and appreciation for, the Constitution, its
history,
The exhibition will open with a reception at 5:00 p.m.
in Converse Gallery, immediately followed by a panel
discussion of noted Lincoln scholars led by the Hon.
Frank Williams, Chief Justice of the Rhode Island Supreme Court (ret.) at 7:00 p.m. in Slater Auditorium.
The exhibition and the panel discussion will focus on
five themes:
The Civil War as a Constitutional Crisis: In 1861
the issue of slavery precipitated a national crisis
framed largely in terms of constitutional issues. The
framers of the Constitution had left unanswered some
basic questions about the nature of the federal Union
they had created: Was the United States truly one nation, or was it a confederacy of sovereign and separate
states? How could a country founded on the belief that
“all men are created equal” tolerate slavery? In a national crisis, would civil liberties be secure? By 1860,
these unresolved questions had become ticking time
bombs, ready to explode. Abraham Lincoln’s election
as the nation’s first anti-slavery president brought the
nation to the brink of war. Lincoln used the tools the
Constitution gave him to confront three intertwined
issues of the Civil War—the secession of Southern
states, slavery and wartime civil liberties.
President Abraham Lincoln, Washington D.C., November 8, 1863. Image Courtesy of Library of Congress,
Prints & Photographs Division
8
had to end. The signing of the Emancipation Proclamation in 1863 and the ratification of the Thirteenth
Amendment in 1865 served to abolish slavery in the
United States.
Civil Liberties: Lincoln claimed extraordinary powers in order to control the chaos of dissent during the
Civil War. He suspended the writ of habeas corpus—
the provision in the Constitution that protects citizens
against arbitrary arrests. By 1863, thousands of civilians had been detained, mostly suspected draft dodgers and deserters and Confederate sympathizers in the
Border States and the South. For these actions, Lincoln was denounced as a tyrant by his political foes.
He struggled throughout the war to find the appropriate balance between national security and individual
rights.
Secession vs. Union illustration, Harper’s Weekly, 1863.
Image Courtesy of Library of Congress, Prints & Photographs Division
Legacy: Lincoln’s fight to save the Union transformed the nation and the Constitution. Lincoln’s
presidency left a legacy of ideals for our nation to live
up to—equality, freedom and democracy. The powerful words of Lincoln’s Gettysburg Address sought
to transmit these ideals into future generations. The
exhibition ends by asking visitors whether we as a
nation have been faithful to this legacy.
Secession: By the time Lincoln took the constitutional oath of office as president, seven states had already
seceded from the Union. Four more soon followed.
Southern secessionists believed they had the right to
withdraw their states’ ratification of the Constitution
and dissolve their connection to the Union. Northerners, however, rejected this idea of “state sovereignty.”
They believed that when the Constitution was ratified,
a united people had established an indivisible nation.
Lincoln believed that state secession was unconstitutional and undemocratic. At Lincoln’s inauguration,
he promised that the government would not attack
the South if the Union was not attacked. But he also
warned that he had taken a solemn oath to “preserve,
protect and defend” the Constitution. What Southerners heard that day were not words of moderation but
a declaration of war.
In conjunction with the Edwin H. Land Library of
NFA and the Norwich The Emancipation Proclamation Commemoration Committee, with additional
funding from the Connecticut Humanities Council,
the exhibition will be combined with the New London County Historical Society’s exhibition From
Slavery to Freedom and Lincolnalia from the Slater’s
permanent collection.
Slavery: Lincoln is widely acknowledged as one of
America’s greatest presidents, but he was a controversial figure in his day and his historical reputation
is contested today. Lincoln believed that slavery was
immoral, but he shared many of the racial prejudices
of his day. His policy preferences about slavery and
abolition evolved over time. For much of his political
career he favored gradual, compensated abolition of
slavery and the colonization of freed slaves in South
America or Africa. In the crucible of the Civil War, he
came to believe that for the nation to survive, slavery
9
Abraham Lincoln (center of photo) delivering his second inaugural address as President of the United States,
Washington, D.C., March 4, 1865. Image Courtesy of Library of Congress, Prints & Photographs Division
Join us as we celebrate the
work of Paul Zimmerman
On view December 7 - December 15, 2012
Paul Zimmerman, a prolific Hartford artist whose
numerous landscape paintings are fantasies of every season; the work is exuberant approachable
and engaging, drawing the viewer ever closer.
Still Life with Bottles and Fruit by Paul Zimmerman,
oil on masonite, n.d.
Please join us for a special live auction event!
Saturday, December 15, 2012
5:30 pm Gallery opens for preview.
6:30 pm Hors d’oeuvres served.
7:30 pm Silent Auction closes.
7:30 pm - 8:30 pm Live Auction of select Zimm-
erman paintings.
Silent Auction of original Zimmerman works
begins December 7, 2012.
Live Auction ticket price:
$35 non-member / $30 members
Advance purchase price:
$25 non-member / $20 members
Advanced tickets must be ordered by
Monday, December 10.
Please call (860) 425-5563 to order by phone.
CHANGE SERVICE REQUESTED