"You know the only thing I’m concerned with now is being in my 70s and being able to be proficient."

The ethereal quality of the work belies the physical effort involved in its production. McCarty places her oversized paper on the floor of her studio, then stretches across and migrates around the paper as she manipulates the paint. The “wet into wet” watercolor technique necessitates a rapid pace: after a fluid initial application, McCarty allows her paints to rest for just a moment before once again dictating the flow of color across the paper. With the colors shifting over the planes of the face, saturated blues, greens, yellows, and pinks punctuate the veils of diluted pigment. McCarty does not paint portraiture, rather her faces delve into a deeper emotional realm of introspective contemplation. Kim McCarty graduated with her MFA from the University of California at Los Angeles, and her BFA from the Art Center College of Design in Pasadena, California. Her recent solo and group exhibitions include the Santa Monica Museum of Art (CA), and the Pasadena Museum of Art (CA). Her work is in the collections of the Museum of Modern Art (NY), the UCLA Hammer Museum (CA), and the Honolulu Academy of Art (HI), among others. Her work has been featured in major publications including Huffington Post, LA Times, Art on Paper, Artnews, and The New York Times. This work is framed. Dimensions listed are for artwork, contact gallery for framed dimensions. Frame is included in listed price.

Kim McCarty is known for her watercolor on paper pieces, which utilize the wet on wet technique. This necessitates a rapid pace: after a fluid initial application, McCarty allows her paints to rest for just a moment before once again dictating the flow of color across the paper. McCarty does not seek to capture an exact likeness, rather she aims to capture a feeling or expression. There is a very personal feeling to each piece, as if by viewing the being at this moment in time, the viewer is a voyeur, an intruder to the solitude of the painted figure. Kim McCarty was born in Los Angeles, California in 1956. She graduated with her MFA from the University of California at Los Angeles, and her BFA from the Art Center College of Design in Pasadena, California. Her recent solo and group exhibitions include the Santa Monica Museum of Art (Santa Monica, CA), the Pasadena Museum of Art (Pasadena, CA), David Klein Gallery (Detroit, MI) and Morgan Lehman Gallery (New York, NY). Her work is in the collections of the Museum of Modern Art, the UCLA Hammer Museum, and the Honolulu Academy of Art, among others. Her work has been featured in major publications including Architectural Digest, Vogue, Huffington Post, LA Times, Art on Paper, Artnews, and The New York Times. Watercolor on paper. This work is framed.

Kim McCarty is known for her watercolor on paper pieces, which utilize the wet on wet technique. This necessitates a rapid pace: after a fluid initial application, McCarty allows her paints to rest for just a moment before once again dictating the flow of color across the paper. McCarty does not seek to capture an exact likeness, rather she aims to capture a feeling or expression. There is a very personal feeling to each piece, as if by viewing the being at this moment in time, the viewer is a voyeur, an intruder to the solitude of the painted figure. Kim McCarty was born in Los Angeles, California in 1956. She graduated with her MFA from the University of California at Los Angeles, and her BFA from the Art Center College of Design in Pasadena, California. Her recent solo and group exhibitions include the Santa Monica Museum of Art (Santa Monica, CA), the Pasadena Museum of Art (Pasadena, CA), David Klein Gallery (Detroit, MI) and Morgan Lehman Gallery (New York, NY). Her work is in the collections of the Museum of Modern Art, the UCLA Hammer Museum, and the Honolulu Academy of Art, among others. Her work has been featured in major publications including Architectural Digest, Vogue, Huffington Post, LA Times, Art on Paper, Artnews, and The New York Times. Watercolor on paper. Unframed.

A small watercolor on paper painting of a daffodil by Kim McCarty which utilizes bright colors – orange and yellow – to define its form. Her signature can be seen on the front bottom right corner of the paper. Kim McCarty is known for her watercolor on paper pieces, which utilize the wet on wet technique. This necessitates a rapid pace: after a fluid initial application, McCarty allows her paints to rest for just a moment before once again dictating the flow of color across the paper. Kim McCarty graduated with her MFA from the University of California at Los Angeles, and her BFA from the Art Center College of Design in Pasadena, California. Her recent solo and group exhibitions include the Santa Monica Museum of Art (CA), and the Pasadena Museum of Art (CA). Her work is in the collections of the Museum of Modern Art (NY), the UCLA Hammer Museum (CA), and the Honolulu Academy of Art (HI), among others. Her work has been featured in major publications including Huffington Post, LA Times, Art on Paper, Artnews, and The New York Times. This work is unframed.

Kim McCarty is known for her watercolor on paper pieces, which utilize the wet on wet technique. This necessitates a rapid pace: after a fluid initial application, McCarty allows her paints to rest for just a moment before once again dictating the flow of color across the paper. McCarty does not seek to capture an exact likeness, rather she aims to capture a feeling or expression. There is a very personal feeling to each piece, as if by viewing the being at this moment in time, the viewer is a voyeur, an intruder to the solitude of the painted figure. Kim McCarty was born in Los Angeles, California in 1956. She graduated with her MFA from the University of California at Los Angeles, and her BFA from the Art Center College of Design in Pasadena, California. Her recent solo and group exhibitions include the Santa Monica Museum of Art (Santa Monica, CA), the Pasadena Museum of Art (Pasadena, CA), David Klein Gallery (Detroit, MI) and Morgan Lehman Gallery (New York, NY). Her work is in the collections of the Museum of Modern Art, the UCLA Hammer Museum, and the Honolulu Academy of Art, among others. Her work has been featured in major publications including Architectural Digest, Vogue, Huffington Post, LA Times, Art on Paper, Artnews, and The New York Times. Watercolor on paper. Unframed

MONTEAGLE SUNDAY SCHOOL ASSEMBLY Celebrating 125 Years in 2007 Monteagle Montages “The Assembly” chose as a theme of celebration, the use of Japanese lanterns displayed outside homes and public buildings, as they had  been popular also in the founding days. It is one of the few continuously operating centers of the Chautauqua movement; a summer retreat for the training of Sunday School teachers emphasizing religion, education, recreation and the arts. It is located in Monteagle, Tennessee, a stone’s throw from Interstate 40. Most cottages are Victorian or Prairie styles, making a charming and picturesque setting. I began painting these montages of streets or groups of streets that year.  Each print contains some element from each house or public area in that part of the Assembly. Also, each of the 16 Monteagle Montage images includes some Japanese lanterns and an American flag, as July 4th is the most celebrated holiday there. The house names and numbers are identified on an accompanying diagram of each print. A map shows the location of each print within the Assembly. This is a giclee print of one of these montages, using archival inks and paper, is signed and numbered by Wendy Leonard.

Kim McCarty is known for her watercolor on paper pieces, which utilize the wet on wet technique. This necessitates a rapid pace: after a fluid initial application, McCarty allows her paints to rest for just a moment before once again dictating the flow of color across the paper. In this new series, called "Anonymous" McCarty paints silhouettes of men and women. Kim McCarty was born in Los Angeles, California in 1956. She graduated with her MFA from the University of California at Los Angeles, and her BFA from the Art Center College of Design in Pasadena, California. Her recent solo and group exhibitions include the Santa Monica Museum of Art (Santa Monica, CA), the Pasadena Museum of Art (Pasadena, CA), David Klein Gallery (Detroit, MI) and Morgan Lehman Gallery (New York, NY). Her work is in the collections of the Museum of Modern Art, the UCLA Hammer Museum, and the Honolulu Academy of Art, among others. Her work has been featured in major publications including Architectural Digest, Vogue, Huffington Post, LA Times, Art on Paper, Artnews, and The New York Times. Watercolor on paper. Unframed.

Lani from Full of Joy Yoga shares kids yoga lesson plans, mindfulness tips and tools as well as breathing exercises and yoga classes for kids & tweens.

Style: Address Labels Keep the hand cramps at bay with custom address labels! Our Signature Address Labels are perfect for mailing, labeling, and gift tagging. Add your photos, images, and text to add personal touch to your outgoing sendables. Our address labels are printed in full color and are comparable in size to Avery® 6871 labels. 18 labels per sheet Dimensions: Individual Label: 2.375" L x 1.25" H Entire sheet: 8.5" L x 11" H Inkjet compatible. Use Microsoft Word Template 6871 Matte finish, easy to write on Designer Tip: To ensure the highest quality print, please note that this product’s customizable design area measures 2.375" L x 1.25" H. For best results please add 1/16" bleed

For your local takeaway, one bad review can break them in the competitive eatery game. And with so many people now voicing their thoughts out loud online, both good and not-so, it’s only fair that the amount of reviews is rising faster than ever.

Native American Acomita Design, Acoma Poly Chrome water jar 790. Description: Native American Acomita Design Acoma poly chrome water jar, circa 1890. Low shoulder, good patina. The featured design elements are floral leaf and checkerboard designs surrounding the exterior just below the mid-body - a feature more commonly found on Acomita ware. Overall, this jar speaks to the spirit and aesthetic of pueblo life, and not the commercialism that loomed just around the corner. Dimensions: 9 inches tall. X 9 3/4 inches diameter. Condition: Beautiful condition with just a couple very small "pops" that occurred during original firing. Acoma Pueblo (/ˈækəmə/; Western Keresan: Aa'ku; Zuni: Hakukya; Navajo: Haakʼoh) is a Native American pueblo approximately 60 miles (97 km) west of Albuquerque, New Mexico in the United States. Three villages make up Acoma Pueblo: Sky City (Old Acoma), Acomita, and McCartys. The Acoma Pueblo tribe is a federally recognized tribal entity.[3] The historical land of Acoma Pueblo totaled roughly 5,000,000 acres (2,000,000 ha). Only 10% of this land remains in the hands of the community within the Acoma Indian Reservation.[4] According to the 2010 United States Census, 4,989 people identified as Acoma.[5] The Acoma have continuously occupied the area for more than 800 years,[6] making it one of the oldest continuously inhabited communities in the United States.[7] Acoma tribal traditions estimate that they have lived in the village for more than two thousand years.[8] Etymology: The word "Acoma" is from the Acoma and Spanish word Acoma, or Acú, which means "the place that always was" or "People of the White Rock". "Pueblo" is Spanish for "village" or "town". Pueblo refers to both the people and the unique architecture of the Southwest.[4] Some tribal elders assert that it means “a place that always was".[7] Language: Main article: Keresan language The Acoma language falls in the Keresan language group.[4] In Contemporary Acoma Pueblo culture, most people speak both Acoma and English. Elders might also speak Spanish.[3] History: Acoma Pueblo Sky City aerial view Origins and early history: Pueblo people are believed to have descended from the Anasazi, Mogollon, and other ancient peoples. These influences are seen in the architecture, farming style, and artistry of the Acoma. In the 1200s the Anasazi abandoned their canyon homelands due to climate change and social upheaval. For upwards of two centuries migrations occurred in the area, and Acoma Pueblo would emerge by the thirteenth century.[4] This early founding date makes Acoma Pueblo one of the earliest continuously inhabited communities in the United States.[9][10] The Pueblo lies on a 365 feet (111 m) mesa, about 60 miles (97 km) west of Albuquerque, New Mexico. The isolation and location of the Pueblo has sheltered the community for more than 1,200 years, which sought to avoid conflict with neighboring Navajos and Apaches.[10] European contact: The Acoma Pueblo had contact with Spanish explorers heading north from Central America, all generally recorded as peaceful interactions.[10] Francisco Vásquez de Coronado'sexpedition described the Pueblo in 1540 as "one of the strongest places we have seen." Upon visiting the Pueblo the expedition "repented having gone up to the place." The only access to the Acoma Pueblo during this time was a set of almost vertical stairs cut into the rock face. It is believed Coronado's expedition was the first European contact with the Acoma.[10] By 1598, relationships with the Spaniards had declined. In December of that year, the Acoma heard that Juan de Oñate had intended on colonizing the area. The Acoma ambushed a group of Oñate's men, killing 11 of them, including Oñate's nephew. The Spanish took revenge on the Acoma, burning most of the village and killing more than 600 people and imprisoning approximately 500 others. Prisoners of war were forced into slavery and men over 25 years old had their right foot amputated. A row of houses on the north side of the mesa still retain marks from the fire started by a cannon during the Acoma War.[10] Survivors of the Acoma Massacre would recover and rebuild their community and Oñate would proceed to force the Acoma and other local Indians to pay taxes in crops, cotton, and labor. Spanish rule also brought Catholic missionaries into the area. The Spanish renamed the pueblos with the names of saints and started to construct churches at them. New crops also were introduced to the Acoma, including peaches, peppers, and wheat. A royal decree in 1620 created civil offices in each pueblo, including Acoma, with a governor to go along with the office. In 1680 the Pueblo Revolttook place, with Acoma participating.[10] The revolt brought refugees from other pueblos. Those who eventually left Acoma would go on to form Laguna Pueblo.[11] The Acoma then suffered from smallpox epidemics and raiding from the Apache, Comanche, and Ute. On occasion, the Acoma would side with the Spanish to fight against nomadic tribes. The Acoma proceeded to practice their religion in secrecy. Intermarriage and interaction also became common among the Acoma, other pueblos, and Hispanic villages. These communities would intermingle to form the culture of New Mexico.[12] Between 1629 and 1641 Father Juan Ramirez oversaw construction of the San Estevan Del Rey Mission Church church. The Acoma were ordered to build the church, moving 20,000 short tons (18,000 t) of adobe, straw, sandstone, and mud to the mesa for the church walls. Ponderosa pine was brought in by community members from Mount Taylor, over 40 miles (64 km) away. At 6,000 square feet (560 m2), with an altar flanked by 60 feet (18 m)-high wood pillars hand carved in red and white designs representing Christian and Indigenous beliefs, the structure is considered a cultural treasure by the Acoma, despite the slave labor used to build it. In 1970 it was placed on the National Register of Historic Places [13] and in 2007 it became the 28th designated National Trust Historic Site; the only Native American site designated with the latter title.[10] 19th and 20th century: During the nineteenth century, the Acoma people, while trying to uphold traditional life, also adopted aspects of the once-rejected Spanish culture and religion. By the 1880s, railroads brought the pueblos out of isolation. In the 1920s, the All Indian Pueblo Council gathered for the first time in more than 300 years. Responding to congressional interest in appropriating Pueblo lands, the U.S. Congress passed the Pueblo Lands Act in 1924. Despite successes in retaining their land, the twentieth century proved difficult for the survival of cultural traditions for the Acoma. Protestant missionaries and schools came into the area and the Bureau of Indian Affairs forced Acoma children into boarding schools. By 1922, most children from the community were in boarding schools.[12] Present day:Today, about 300 two- and three-story adobe buildings reside on the mesa, with exterior ladders used to access the upper levels where residents live. Access to the mesa is by a road blasted into the rock face during the 1950's. Approximately 30 [11] or so people live permanently on the mesa, with the population increasing on the weekends as family members come to visit and tourists, some 55,000 annually, visit for the day. Acoma Pueblo has no electricity, running water, or sewage disposal.[11] A reservation surrounds the mesa, totaling 600 square miles (1,600 km2). Tribal members live both on the reservation and outside it.[10]contemporary Acoma culture remains relatively closed, however.[3] According to the 2000 United States census, 4,989 people identify themselves as Acoma.[5] Many Acoma people disapprove of Juan de Oñate being called New Mexico's founder. In 1998, after a statue was erected as a tribute to Oñate at the Oñate Monument Center in Alcalde, someone cut off the bronze right foot of his statue with a chainsaw.[10] Culture: Governance and reservation: Acoma government was maintained by two individuals: a cacique, or head of the Pueblo, and a war captain, who would serve until their deaths. Both individuals maintained strong religious connections to their work, representing the theocracy of Acoma governance. The Spanish eventually imposed a group to oversee the Pueblo, but, their power was not taken seriously by the Acoma. The Spanish group would work with external situations and comprised a governor, two lieutenant governors, and a council. The Acoma also participated in the All Indian Pueblo Council, which started in 1598 and arose again in the twentieth century.[14] Today, the Acoma controls approximately 500,000 acres (200,000 ha) of their traditional land. Mesas, valleys, hills, and arroyos dot the landscape that averages about 7,000 feet (2,100 m) in altitude with about 10 inches (250 mm) of rain each year. Since 1977, the Acoma have increased their domain through several land purchases. On the reservation, only tribal members may own land and almost all enrolled members live on the property. The cacique is still active in the community, and is from the Antelope clan. The cacique appoints tribal council members, staff, and the governor.[3] In 2011 Acoma Pueblo and the Pueblo of Santa Clara were victims of heavy flooding. New Mexico supplied more than $1 million to fund emergency preparedness and damage repair for victims and governor Susana Martinez requested additional funding from the Federal Emergency Management Agency.[15] Warfare and weaponry: Historically, engagements in warfare were common for Acoma, like other Pueblos. Weapons used included clubs, stones, spears, and darts. The Acoma later would serve as auxiliaries for forces under Spain and Mexico, fighting against raids and protecting merchants on the Santa Fe Trail. After the nineteenth-century raiding tribes were less of a threat and Acoma military culture began to decline. The war captain position eventually would ch

Synopsis Expand/Collapse Synopsis Engaging a New Generation critically examines our commonly held assumptions as well as our often-used models and methodologies initially developed to reach late Baby Boomer and Generation X teens. It then introduces you to the core characteristics of the Millennial Generation teens and the pastoral implications, where the operational and ministerial borders are expanding far beyond traditional youth ministry. "This text fills a great need." -- Bishop Gerald F. Kicanas, Bishop of Tucson "If you want to help young people develop a vibrant, life-transforming faith, read this book!" -- John Roberto, LifelongFaith Associates "Engaging a New Generation is as much about vibrant parish faith as it is about our young people." -- Bishop Timothy Doherty, Lafayette, Indiana "A modern manifesto for reaching young people today." -- Jim Beckman, Director of Youth Evangelization and Leadership, Augustine Institute "Frank Mercadante's passion for the young Church and his commitment to a comprehensive approach to pastoral ministry is evident on every page." -- Bob McCarty, D.Min., Executive Director, National Federation for Catholic Youth Ministry "This book comes from deep inside the field of youth ministry. It is theological, sociological, practical, pastoral, and scriptural." -- Dr. Mike Carotta, author, national consultant "This book is the most significant resource I have read, not only for youth ministry but for parish ministry, in the last ten years." --Peter Denio, Standards for Excellence Coordinator, The National Leadership Roundtable on Church Management "Frank Mercadante is in it to win it for today's teens." -- Randy Raus, Life Teen President/CEO "Masterfully and succinctly outlines some of the big shifts that have taken place within culture and the Church." -- Mike Patin, International Catholic Speaker and "Faith Horticulturist" "Whoever wants the next generation of Catholic youth the most will get them. Let Frank Mercadante show you how!" -- Matthew Kelly, New York Times bestselling author of Rediscover Catholicism and founder of Dynamiccatholic.com "We as a Church often hope to reach today's young people with yesterday's approach - and then wonder why they don't respond. This book is a must read." -- Bob Rice, Speaker, Author, Musician, and Professor of Catechetics at Franciscan University of Steubenville "Clearly identifies these cultural shifts and shares important current research on youth and families." -- Jeffrey Kaster, Ed.D, Saint John's University School of Theology and Seminary, Collegeville

Kim McCarty is known for her watercolor on paper pieces, which utilize the wet on wet technique. This necessitates a rapid pace: after a fluid initial application, McCarty allows her paints to rest for just a moment before once again dictating the flow of color across the paper. In this new series, called "Anonymous" McCarty paints silhouettes of men and women. Kim McCarty was born in Los Angeles, California in 1956. She graduated with her MFA from the University of California at Los Angeles, and her BFA from the Art Center College of Design in Pasadena, California. Her recent solo and group exhibitions include the Santa Monica Museum of Art (Santa Monica, CA), the Pasadena Museum of Art (Pasadena, CA), David Klein Gallery (Detroit, MI) and Morgan Lehman Gallery (New York, NY). Her work is in the collections of the Museum of Modern Art, the UCLA Hammer Museum, and the Honolulu Academy of Art, among others. Her work has been featured in major publications including Architectural Digest, Vogue, Huffington Post, LA Times, Art on Paper, Artnews, and The New York Times. This work is unframed.

Kim McCarty is known for her watercolor on paper pieces, which utilize the wet on wet technique. This necessitates a rapid pace: after a fluid initial application, McCarty allows her paints to rest for just a moment before once again dictating the flow of color across the paper. McCarty often paints animals; her bunnies are a reference to the “Young Hare” painted by Albrecht Durer in 1502. This bunny features a predominantly black and gray body with touches of pink at his ears, and teal on his body. Kim McCarty graduated with her MFA from the University of California at Los Angeles, and her BFA from the Art Center College of Design in Pasadena, California. Her recent solo and group exhibitions include the Santa Monica Museum of Art (CA), and the Pasadena Museum of Art (CA). Her work is in the collections of the Museum of Modern Art (NY), the UCLA Hammer Museum (CA), and the Honolulu Academy of Art (HI), among others. Her work has been featured in major publications including Huffington Post, LA Times, Art on Paper, Artnews, and The New York Times. This work is unframed.

Everett Spruce "Guitar" Guitarscape. Landscape (1908 - 2002) Austin Artist Image Size: 9 x 7.5 Medium: Pencil Drawing 1940's Sketch Book Biography Everett Spruce (1908 - 2002) The following, submitted by a researcher of the Ashworth Collection of Native American and Western Art, is from the artist's obituary in the Fort Smith, Arkansas "Times Record" newspaper, October 20, 2002. Everett F. Spruce, well-known artist, teacher, professor emeritus, died Friday, Oct. 18, 2002, at age 94. Everett Spruce was born on a farm in Conway to William E. and Fannie McCarty Spruce. He came to Dallas, at age 17, on a scholarship to study at the Dallas Art Institute, under Olin Travis and Thomas M. Stell Jr. In 1931, he became gallery assistant at the Dallas Museum of Fine Arts and in 1934 married Alice V. Kramer, a fellow art student. He was one of the "Dallas Nine" group of Southwest artists. By the time he joined the art faculty of the University of Texas at Austin in 1940, he had achieved national recognition, and his work has been chosen for inclusion in major national juried exhibitions. He served as chairman of the Department of Art at the University of Texas at Austin 1949-51, became professor of art in 1954 and served as director of Graduate Studio Art 1961-74. He retired in 1974 as professor emeritus and was recognized as one of the outstanding painters in Texas. His work was exhibited nationally and internationally, including Texas Centennial Exhibition Dallas, Museum of Fine Arts, annual exhibition of Contemporary American Paintings, Whitney Museum of American Art New York, annual exhibition of American Painting and Sculpture, Art Institute Chicago, exhibition of American Painting and Sculpture, Carnegie Institute Pittsburg, "A Particular Portion of Earth" Pan American Union Washington, D.C. Upon his retirement from the University of Texas, he was honored with a Retrospective Exhibit, Selected Paintings and Drawings, 1950 to 1979. In 1993, he was honored with an exhibition "Companions in Time: The paintings of William Lester and Everett Spruce" by Laguna Gloria Art Museum. Mr. Spruce won numerous prizes including Purchase Prize "Painting of the Year" Pepsi-Cola Competition, National Academy of Design New York, Scheidt Memorial Prize, 142nd annual exhibition Pennsylvania Academy of Fine Arts, First Prize Exhibition of Modern American Paintings, Galerie Giroux Brussels and was chosen as the first artist to be represented in the Blaffer Series of Southwestern Art, published by the University of Texas Press. He was awarded a Ford Foundation Grant Retrospective Exhibition circulated by the American Federation of Arts, South, Midwest and West. His work is highlighted in many publications including "Lone Star Regionalism, the Dallas Nine and Their Circle", by Rick Stewart published by Texas Monthly Press; "Pecos to Rio Grande, Interpretations of Far West Texas by Eighteen Artists", published by Texas A&M University Press; "The Texas Gulf Coast, Interpretations by Nine Artists", published by Texas A&M University Press and "Art for History's Sake, The Texas Collection of the Witte Museum" by Cecilia Steinfeldt published by the Texas State Historical Association. In addition, he was honored for his lasting contributions to the art world and for his exemplary work as an educator by a resolution bestowed by the Texas House of Representatives and signed by the then Gov. George W. Bush. In addition to pieces held by numerous private collections, his works are included in many public collections including Metropolitan Museum of Art New York, Dallas Museum of Fine Art, M.H. DeYoung Museum San Francisco, Fort Worth Museum, Museum of Fine Arts Houston, Marion Kugler McNay Art Institute San Antonio, Museu de Arte Moderno Rio De Janeiro, Museum of Modern Art New York, Phillips Gallery Washington, D.C., Southern Methodist University Dallas, Tulane University New Orleans, University of Alabama, University of Nebraska, University of Texas at Austin, Whitney Museum of American Art New York and Witte Memorial Museum San Antonio. Mr. Spruce continued to paint and exhibit into his 88th year. He included a sense of music and poetry in his painting. In many instances he could identify the exact spot he translated into paint, describing the time of day, the weather, the light and where he stood when he viewed it. His paintings are rich in color, texture and mood, communicating strength and substance. He was an amazingly productive artist, painting mostly landscapes, though he occasionally painted fascinating people, birds and animals. Mr. Spruce especially loved trees, of which he said "each has its own personality." In addition, he appreciated nature, particularly mountains, cactus, birds, animals, the ocean, rocks, craggy countryside, the sky and storms. He treasured anything Celtic/Irish, was fascinated by languages and different cultures, enjoyed good music, Yeats, Thomas Hardy, William Faulkner and all good literature. Teaching was his forte and many former students kept in touch throughout his long lifetime.

Daffodils Dragonflies Tiger Lil 9705 17 Moda #1 Manufacturer: MODA Stock #: 9705 17 Product Content: 100% Cotton Type: 44"-45" Wide Designer: Kansas Troubles Quilters Group Name: Daffodils And Dragonflies Origin: Made in Korea Color: Orange Theme: Florals Fabric yardage is sold by the 1/2 yard. Your fabric will be cut in one continuous piece. -If you want a 1/2 yard, order "1." -If you want 1 yard, order "2." -If you want 1 1/2 yards, order "3”, etc. This is 100% Cotton

British rock group The Yardbirds at London airport as they leave for Canada to start a month long tour of the United States. They are: Jim McCarty, Jeff Beck, Jimmy Page wearing a bus ticket punch,...