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CONTEMPORARY 

AMERICAN MARINE ART 

15th 15 National Exhibition of the American Society of Marine Artists, 2011-2013 

th National Exhibition of the American Society of Marine Artists, 2011-2013

CONTEMPORARY 

AMERICAN 

MARINE ART 

15 th National Exhibition of 

The American Society of Marine Artists 

in association with 

Cornell Museum of Art and American Culture, Delray Beach, Florida 

Mobile Museum of Art, Mobile, Alabama 

Art Museum of Southeast Texas, Beaumont, Texas 

Art Museum of South Texas, Corpus Christi, Texas 

Museum of the Southwest, Midland, Texas 

The Haggin Museum, Stockton, California 

Coos Art Museum, Coos Bay, Oregon 

Minnesota Museum of Marine Art, Winona, Minnesota 

2011 - 2013

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Contemporary American Marine Art 

CORNELL MUSEUM of ART 

and AMERICAN CULTURE 

51 North Swinton Ave. 

Delray Beach, FL 33444-2631 

(561) 243-7922 

www.oldschool.org 

October 27, 2011 – January 9, 2012 

MUSEUM of 

THE SOUTHWEST 

1705 West Missouri Avenue 

Midland, TX 79701-6516 

(432) 683-2882 

www.museumsw.org 

September 15, – December 7, 2012 

Contents Copyright ©2011 by the American Society of Marine Artists 

October, 2011 through July, 2013 

The Fifteenth National Exhibition 

of The American Society of Marine Artists 

MOBILE MUSEUM of ART 

4850 Museum Drive 

Mobile, AL 36608-1917 

(251) 208-5200 

www.mobilemuseumofart.com 

January 19, 2012– April 8, 2012 

THE HAGGIN MUSEUM 

1581 Picardy Dr. 

Stockton, CA 95203-1699 

(209) 937-8119 

www.hagginmuseum.org 

December 20, 2012 – March 3, 2013 

Catalog Editor: American Society of Marine Artists 

Catalog Design: Jill Nichols 

Published by: Jill Nichols Design, www.jillnichols.com 

Printed in the United States of America 

Library of Congress Control Number: PENDING 

COVER: Signature Member Al Barnes, Hole Inspector 

ART MUSEUM of 

SOUTHEAST TEXAS 

500 Main Street 

Beaumont, TX 77701-3213 

(409) 832-3432 

www.amset.org 

April 21 – June 17, 2012 

COOS ART MUSEUM 

235 Anderson Avenue 

Coos Bay, OR 97420-1610 

(541) 267-3901 

www.coosart.org 

March 22 – May 18, 2013 

ART MUSEUM of SOUTH TEXAS 

1902 North Shoreline Boulevard 

Corpus Christi, TX 78401-1138 

(361) 825-3500 

www.stia.org 

June 30 – August 26, 2012 

MINNESOTA MARINE 

ART MUSEUM 

800 Riverview Drive 

Winona, MN 55987-2272 

(507) 474-6626 

www.minnesotamarineart.org 

June 4 – July 28, 2013

About The American Society of Marine Artists 

In the mid-1970’s a group of artists, illustrators and art directors in Manhattan found themselves drawn together in pursuing their first love – 

sketching and painting ships and the sea. United by common persuits and ideals, their informal get-togethers became larger, longer and more 

frequent, and thus the American Society of Marine Artists was founded in 1978. 

Today, the 570-member ASMA is a non-profit educational organization whose purpose is to recognize and promote marine art and maritime 

history, and to encourage cooperation among artists, historians, academics, enthusiasts and others engaged in activities relating to marine art 

and maritime history. Since its founding, the Society has brought together some of America’s most talented contemporary artists in the marine 

art field. Widely respected by museums, galleries, naval maritime associations as well as devoted maritime art collectors, the American Society 

of Marine Artists advances its educational mission through Regional and National Exhibitions hosted by museums across the country and 

by publishing related exhibition catalogs as well as a quarterly, ASMA News and Journal. The Society welcomes all to membership who are 

interested in America’s rich maritime heritage. One does not need to be an artist to join and support the Society and its mission. 

America has a long history as a seafaring nation. Whether our last affair with the sea was a stroll on a sandy beach or an off-shore sail, we 

all share a special fascination for the sea and ships. Of course, the special world of marine art is not limited to ‘a painted ship upon a painted 

ocean’. As you will see attending the Exhibition in person, or browsing this comprehensive catalog, artists today are inspired as well to depict 

breezy seashores, stark lighthouses, rocky coasts, a still pond or the denizens that inhabit the open ocean, and render them in every medium 

imagineable. 

Within the Society are the Fellows, who are responsible for sustaining and elevating the artistic standards of the Society. This group of 24 active 

Fellows and seven Fellows Emeritus confer, through jurying, the Signature Memberships within the Society, as well as select, from hundreds 

of submissions, the best of our member’s works for national exhibitions. 

A high point for members and marine enthusiasts alike are our National Exhibitions that are hosted every three years by one or more museums. 

This one, the 15th, our most ambitious ever, presents 122 works that will be shown over a period of twenty-two months in eight museums 

and will cover a distance of nearly six thousand miles. We are proud to have these prestigious museums join dozens that have hosted ASMA 

exhibitions for over three decades. 

To learn more about ASMA, visit: 

www.americansocietyofmarineartists.com 

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INTRODUCTION 

Walk through this exhibition and linger over a thrilling, crashing seascape. Marvel at a sculptor’s touch 

which brings metal or stone to life. Or pause for a quiet respite, and gaze over a still pond. What I hope 

impresses you when taking in this collection is what impressed me when I saw it complete for the first 

time – the wide variety of different inspirations, the full spectrum of mediums and techniques and the level 

of collective vision, talent and skill they represent. And imagine – they come from artists in just about every 

state (plus a few other nations as well) – and are brought together in one place, for a short time only. 

Personally, as a participating artist in this show, I can tell you it is a thrill to be included in an exhibition 

of this stature, in venues of such esteem, and have my work seen by thousands of marine art enthusiasts 

(and the merely curious alike). And to think that I possibly made some stop and look, and better still, 

feel something. 

At the same time, as the Society’s current President, I can tell you that I and all of the Fellows of the 15th 

National Exhibition jury, and the members of the Exhibition Committee that organized the show and the 

Communications Committee that produced this catalog are very proud of the quality of the work created 

by our membership, which is quite evident as you look over the collection. 

What you see before you is an unbroken line connected to centuries of earlier works. While many art forms 

find favor and become popular, only to be eclipsed by something new, representational depictions inspired by 

the sea, sea life, and seafaring can be found among the earliest works of human creativity, and will survive and thrive 

for centuries more. And I hope you agree – today it is as vibrant as ever, energized anew in 2011 with fresh visions from 

members of the American Society of Marine Artists in our 15th National Exhibition. 

Russ Kramer 

President and Fellow, ASMA 

Mystic, CT

The Cornell Museum of Art & American Culture is part of Old School Square Cultural Arts Center, an 

award-winning National Historic Site, where beautifully restored, early 20 th century school buildings also 

feature the Crest Theatre and Vintage Gymnasium. By successfully combining historic preservation and 

the arts, Old School Square became the catalyst for the 1990’s renaissance of downtown Delray Beach, now 

considered one the hottest destinations in Florida. As Delray’s cultural center, located in the heart of the 

downtown, Old School Square is a community gathering place for a diverse schedule of events. 

The charming Cornell Museum is one of the surprises that people discover in Delray Beach. Originally 

the 1913 Delray Elementary school building, the Cornell offers a warm and welcoming atmosphere. The 

architecture, formally known as “Masonry Vernacular,” is what makes the building so unique in the 

downtown area. This style was used for several smaller buildings in the Old School Square Historic Arts District. 

Without the colorful exhibit banners and other signage, one would never guess that the building is actually a museum. 

During the restoration process, the original atrium and classrooms, which are now exhibition spaces, were restored to 

preserve the rare Dade County Pine floors, tall windows and open space. The only significant modification to the interior 

was to open the atrium up to the second floor, allowing for natural light to stream in and provide a more spacious feel. 

The first floor houses three galleries and the Angelique Tea Room, which is used for art classes, receptions and other 

special events. The second floor, which can be accessed by two grand staircases (or an elevator) has three exhibition 

galleries and the children’s gallery. Exhibits rotate every three 

to four months and feature an eclectic mix of local, national and 

international fine art, crafts and pop culture. 

Gloria Rejune Adams, Director 

Cornell Museum of Art and American Culture 

ABOUT THE MUSEUMS 

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The Mobile Museum of Art is the largest art museum on the Gulf Coast 

between New Orleans and Tampa. Besides being a busy port city, Mobile is 

located by the second largest river delta in the United States and is near Gulf beaches that attract hundreds of thousands 

of visitors annually. Of these, Dauphin Island is one of the country’s premier bird watching destinations. Founded in 1964, 

the Museum’s collections of American art from the 19th and 20th century prominently feature realist painting, including a 

wealth of maritime images. 

In short, Mobile is at the confluence of several types of scenic environments which have long been the muse for marine artists 

of all kinds. We are delighted to be able to host this exhibition of the finest contemporary artists who share this passion for 

the activities, flora, fauna and sheer beauty of a coastal and maritime paradise. 

Donan Klooz 

Curator of Exhibitions

Art Museum of Southeast Texas mission: Through unique collections, exhibitions and public programs 

and outreach in the visual arts, our mission is to provide education, inspiration and creative vision 

throughout Southeast Texas. The purpose of the Art Museum of Southeast Texas is to collect, preserve, 

exhibit and interpret the arts with special attention to the fine and folk arts of the 19-21 centuries 

by providing conservation, preservation and exhibition of collections including docent-led tours, 

publications, symposia, film, lectures, and interdisciplinary programs. 

This museum was originally incorporated in 1950 as the Beaumont Art Museum. Housed in a rented 

historical home near the city business district, it was a volunteer-run space for local artists to work, 

exhibit, and conduct classes. In 1956, increased interest led to a permanent home, a 2,000 sq. ft. facility at the city fairgrounds. 

In 1969, the museum moved again near downtown into a 5,000 sq. ft. donated house, renovated for exhibiting art. In 1972, 

the museum hired its first professional staff. With wide support, $4.2 million was raised for the construction of a 22,000 

sq. ft. facility. In 1987, the museum reopened in downtown Beaumont on land leased from the City for 99 years at $1.00 per 

year. Convenient to public transit and major highways that cross the region, the renamed Art Museum of Southeast Texas 

(AMSET) reflects the institution’s expanded service area beyond Beaumont. The museum was accredited by the American 

Association of Museums in 1990 and again in December, 2008. 

The collection is currently comprised of approximately 1000 objects of 19 th -21 st 

century regional fine and folk art. Collections are enhanced by contemporary 

and historical exhibitions that lend critical context to the collection. 

Education remains a major strength of the museum and programs are 

community oriented. The growth and development of programs such as 

the children’s computer lab, Art After School, Protégé High School Art 

Competition, Family Arts Days, Art-to-Go, a rotating interactive education 

gallery and the junior docent program make the museum a vital community 

resource and a respected arts institution in the region. The Art Museum of 

Southeast Texas is accredited through the American Association of Museums. 

Sarah Hamilton 

Curator of Exhibitions and Collections 

Lynn P. Castle 

Executive Director 


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When the Art Museum of South Texas opened its addition in 2006 by internationallyrecognized 

architect Ricardo Legorreta, it symbolized a marriage of two cultures: the 

vibrant architecture and colors of Mexico City combined with the metropolitan-style 

architecture of New York City by world-renowned architect Philip Johnson. Johnson’s 

gleaming white concrete Art Museum became a landmark on the Corpus Christi 

Bay when it opened in 1972. Since then, the Art Museum has been host to numerous 

exhibitions of increasing national significance, from historic Western art from Tulsa’s renowned Gilcrease Museum to the Chicano 

Art of the Cheech Marin Collection. On June 30 to August 26, 2012, the Art Museum of South Texas is proud to be hosting the 15 th 

National Exhibition of the American Society of Marine Artists (ASMA). 

Artists have long been drawn to this area for its Gulf of Mexico and Padre Island location. Important marine artists like Kent Ullberg 

and Al Barnes reside here. Countless others have made a home in Corpus Christi, Rockport, or Port Aransas to take advantage of 

the rich marine subject matter. 

The Art Museum of South Texas, with its spacious galleries overlooking the water, showcases works of art in a wide range of media 

– from sculpture to painting – all focusing on fine art and crafts of the Americas. The Museum houses a 1,400-piece permanent 

collection, special traveling exhibitions, and a fun-filled ArtCade and Kids Zone for art enjoyment by children. The Museum’s Café 

provides popular lunchtime fare along with panoramic views of Corpus Christi Bay and the ship channel. 

As Corpus Christi has grown from a waterfront village to the 

6th most active U.S. port, the Art Museum of South Texas 

also has grown and expanded with it. 

Visit the Museum’s website for details on 

exhibitions, programs, hours and admission: 

www.ArtMuseumOfSouthTexas.org . 

Joseph B. Schenk, Director 

Art Museum of South Texas

The Museum of the Southwest houses over 12,000 works of art in its collection, including sculpture, early and 

contemporary Southwestern art, and rare Native American art and artifacts. The museum also hosts up to ten 

exhibitions a year that feature the paintings, pottery, and sculpture of well-known national and international 

artists as well as many amazing local artists. Additionally, on display outside on the Museum Grounds is a 

permanent collection of beautiful stone and bronze sculptures. 

The Museum’s rich history begins with the dynamic family which owned the mansion. Fred and Juliette 

Turner built their home in 1936. Among the most impressive features of the mansion were the first swimming pool and first 

privately owned tennis courts in Midland County. The pool and tennis court were later removed for museum expansion. 

After the mansion and stables became the home of the Museum, expansions in 1970 (Thomas Galleries) 

and 1987 (Southwing) added much needed exhibition, collection storage, preparation and handling space. 

In 1972, a grant from the Blakemore Foundation allowed the Museum to build a Planetarium. The building, 

designed by noted architect Frank Welch, won the Texas Society of Architects’ Award for Excellence. 

In 1986, after a Junior League community needs assessment determined that a children’s museum would benefit Midland, 

Fredda Turner Durham gave a generous donation to assure the development of the new facility. The Children’s Museum was 

built on neighboring property given to the museum by a patron. 

The Museum was accredited by the AAM in June 1992, and again in 2002. 

The Museum is privately governed by a twenty-seven member Board of Trustees and has a full-time staff of eleven. 

Brian Lee Whisenhunt 



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The city of Stockton is located in the geographic center of California and adjacent to over 

1,000 miles of waterways that form the vast Sacramento-San Joaquin Delta. From its Gold 

Rush beginnings to the present day, Stockton’s history has been shaped by its proximity to 

the rivers, sloughs and islands of this region. 

It was here that the storied river boats DELTA KING and DELTA QUEEN were built. The 

first “Caterpillar” tractor was designed and built in Stockton, along with a host of other 

machines and implements that have helped to transform the swamplands of the Delta into one of the world’s most productive 

agricultural regions. And ships from around the globe call at the Port of Stockton—California’s first inland seaport. 

Stockton is also the home of The Haggin Museum, which for 80 years has provided its visitors with opportunities to 

better understand and appreciate both art and history through displays of its core collections, temporary exhibitions and 

special programs. 

Its art collection includes paintings by such late 19th and early 20th century American and European artists as Albert 

Bierstadt, Rosa Bonheur, William-Adolphe Bouguereau, William Bradford, Alfred Thomson Bricher, William Coulter, Jean- 

Léon Gérôme, Childe Hassam, Edward Lamson Henry, George Inness, William Keith, Daniel Ridgway Knight, Eugène- 

Joseph Verboeckhoven and Jehan-Georges Vibert. The Haggin also holds one of the largest collections of paintings by the 

famous American commercial artist J. C. Leyendecker. 

Its history galleries provide a window on the past with displays that tell the story of Stockton, with special emphasis on its 

rich industrial past. Highlights include a 1918 Holt “Caterpillar” tractor 

and a beautiful 1927 Stephens Bros. runabout. 

Like The Haggin Museum, the American Society of Marine Artists’ 15th 

National Exhibition celebrates art and history, and we are proud to serve 

as its California venue. 

Tod Ruhstaller 

CEO & Curator of History 

The Haggin Museum

Coos Art Museum, of Coos Bay, Oregon is pleased to host the 15 th National Exhibition of 

the American Society of Marine Artists. Established in 1966, Coos Art Museum is the only 

art museum situated along Oregon’s coastline. The Museum is in an historic 1936 Art Deco 

building. It has six galleries that annually host up to 25 exhibitions, including exhibits from 

the 549-piece Permanent Collection of contemporary and Pacific Northwest art. 

Our mission statement: “Coos Art Museum is the cornerstone of visual arts on Oregon’s Southern Coast. Through collections, 

exhibitions and educational programs, we are building an arts and cultural community and promoting the appreciation, 

understanding and expression of visual art.” 

The Museum is key to revitalizing downtown Coos Bay. Tourism is a growth industry on the Oregon Coast and Coos 

Art Museum is one anchor of that industry. Located along one of the nation’s most dramatic coastlines, the Museum is an 

attraction for travelers along the famed 101 Coast Highway. 

Participation in this exhibition is an outgrowth of our ongoing programming. We have produced an annual maritime art 

exhibition for 20 years and in 2008 accepted the invitation to host ASMA’s Western Regionals. Maritime traditions run deep 

in Coos Bay, the largest natural deep water port between Seattle and San Francisco. Our area was once a major ship building 

center and the world’s largest lumber shipping port. We believe that the National Maritime Art Exhibition will be highly 

valued in our community because of its local maritime history, traditions, and culture. 

Coos Art Museum acknowledges James F. and Marion L. Miller Foundation of Portland, Oregon; 

Sause Brothers Ocean Towing Company of Coos Bay; Ocean Terminals Company of North Bend, 

Oregon; Coos Bay Ship Pilots Association; and the Oregon International Port of Coos Bay for 

making our participation in this exhibition possible. 

Steven Broocks, 


Miller Foundation 

Funding the Arts James F. & Marion L. 


Funding Education 

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The Minnesota Marine Art Museum (MMAM) features an art collection of historical 

significance uncommon to America’s mid-sized museums, and an ambitious roster of 

temporary exhibitions and programs relating to “great art inspired by water.” Perched 

on the banks of the Upper Mississippi River and surrounded by acres of native gardens, 

the Minnesota Marine Art Museum first opened its doors to the public in 2006. The 

MMAM’s focus on “great art inspired by water” relates to the local and regional 

community’s maritime heritage as one of America’s great historic river towns. Museum 

collections include historical marine art, Hudson River School and Luminist works, a 

substantial Impressionist collection, modern works by Picasso, Matisse, and O’Keeffe, 

and over 400 sculptures by contemporary folk artists Leo and Marilyn Smith. 

The Museum is located at 800 Riverview Drive in Winona, Minnesota. More information can be found by visiting 

www.minnesotamarineart.org. 

Andrew J. Maus 

Executive Director

Anchored In 

18 x24, Acrylic on Panel 

DEL-BOURREE BACH 

Signature Member, ASMA 

Low tide has left these Rockport skiffs jammed together at the dock, creating wonderful patterns with the sunlight and shadows. 

Color, texture, light and form combine to create a different abstraction each time the tide goes out. I enjoy the challenge of painting 

these colorful little boats stranded by the ever changing sea. 

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DAVID BAREFORD 

Fellow, ASMA 

S-Class Regatta 

24 x 40, Oil 

Ah…….Summer! Is there anything better than being out on the water on a summer afternoon, mainsail full, a freshening breeze, the delightful creaking of a 

wooden hull and the warmth of the sun on face and arms? A group of S-Class sloops is seen here rounding a navigational buoy in Narragansett Bay during 

racing at the Herreshoff Classic Regatta. Each August, the Herreshoff Marine Museum in Bristol, RI, plays host to the owners of these venerable classics.

Me and MISTER JIM 

12 x 16, Oil on Canvas on Board 

LARRY B. MOORE 


This Chesapeake Bay oyster buyboat replica was painted en plein air, my primary method of working, in St. Michael’s, MD. 

Whenever I go to that region to paint I head straight for the Chesapeake Bay Maritime Museum to see what’s in the water or 

being built by the local shipwrights. I’m rarely disappointed, as the area is a visual treasure trove and a marine artist’s playground. 

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C. W. MUNDY 


The RANA and the MIMI was painted en plein air in late afternoon light, August 2001 in the Gloucester 

Harbor. My first en plein air painting trip to the fishing harbor and artist colony of Gloucester, MA was 

the summer of 1996. Gloucester Harbor was a real fishing harbor, complete with old wooden boats and old 

buildings. Each time I returned to Gloucester, I saw and painted the same boats, but many of these boats 

and buildings have since disappeared. 

THE RANA and the MIMI, Late Afternoon Light 

16 x 20, Oil

Opalescent Sea 

24 x 30, Oil 

So often we describe the ocean as blue, but the living reality surpasses monochrome. When I stand in front 

of this painting, I find myself not only at the ocean, but in it – I hear the surf, am enveloped in the color 

spectrum, taste the salt, and feel the breeze on my face. The very name – Opalescent Sea – reflects the 

tumultuous, joyous movement of brush strokes and color, capturing the essence of the coast. 

STEVE H. C. HENDERSON 


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CHARLES RASKOB ROBINSON 

Fellow, ASMA 

Sunrise at Sea: Symphony in Four Movements 

Based on Dvorák’s Symphony “From the New World” 

Each 11 x 18, Oil on Linen Laid on Panel 

Painting “en plein ear,” the artist listened repeatedly to Antonín Dvorák’s Symphony Number 9 in E Minor “From the New World” to 

articulate what the composer was communicating in each of the work’s four movements. Then, drawing on his experience of 

crossing the Atlantic in a sailboat, the artist conveyed the composer’s offerings of ominous power in movement Number I, transcendental 

sublimity in II, transformative awe in III, and prevailing majesty in IV. It is Modest Mussorgsky’s Pictures at an Exhibition in reverse.

Big Sur Rocks 

18 x 24, Oil on Linen 

Pacific waves crashing on rocks near Big Sur, California. 

ROBERT T. AKERS 

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KIRK LARSEN 

Shields are dynamic, fractionally rigged sailboats. Created for the Long Island Sound to elicit the best of a sailor’s ability 

in light or strong winds, there are now fleets across America. Inspired by the absolute beauty of a match race on a warm 

summer’s evening in a mild breeze on Oyster Bay, NY, SKIMMER vs. IVRE captures one beautiful facet of this fantastic S&S 

“one design.” 

SKIMMER vs. IVRE 

20 x 24, Oil on Canvas

Sunset Racing 


This is a typical Wednesday summer night at the Washington Sailing Marina near National Airport, with the Washington 

Monument visible in the background. A number of Albacore and Laser sailboats frequently get together to race in the 

early evening, and I was inspired by the black boat that is in the process of passing the other boats. 

HIU LAI CHONG 


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PATRICK O’BRIEN 


The USS ENTERPRISE was built in Baltimore in 1799. She carried 16 guns and about 100 men. 

USS ENTERPRISE vs. HMS BOXER — 1813 

18 x 24, Oil on Canvas 

During the War of 1812, off the coast of Maine, ENTERPRISE fought a fierce battle with the British brig BOXER. The British captain 

was killed in the first shots and the American captain, William Burrows, was mortally wounded. After thirty minutes of action, 

the British ship was a wreck. Accepting the surrender, the dying Captain Burrows declared, “I am satisfied, I die contented.”

USS ONEIDA Off Fort Niagara, c. 1813 


This is a view of one of the first purpose-built warships manufactured by the U.S. Navy on the Great Lakes. Built in 

1810, the ONEIDA was a brig armed with 16 guns and used throughout the War of 1812. She is shown approaching 

the mouth of the Niagara River on Lake Ontario, an area guarded by Fort Niagara. She is accompanied by the 

USS SCOURGE, a merchant schooner converted to a gunboat. 

ROBERT AVERILL 


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JUNE CAREY 

Fellow, ASMA 

Lost Artist, Lost Coast 


This painting depicts Lost Coast area of Northern California. It is the only one I have ever painted with myself in it. David Thimgan, my late husband, took 

the photo in which I happened to be. David was a gifted historical painter and Fellow. I am standing on a rock with a large telephoto lens taking photos 

looking up the coast to the north. I really like the intense sunlight on the brightly colored seaweed, which low tide exposes on the rocks.

Chasm 

14.5 x 14, Oil on Panel 

This painting was started on location overlooking the Pacific Ocean near Monterey. I 

developed it to a fairly high degree before leaving the site as I knew that I wanted to 

develop it into a finished combination en plein air/studio painting. I am adamantly opposed 

to introducing photographs into my art, so it is important that I leave the location with as 

much information as possible, giving me the freedom to translate what I have recorded 

into a work of art. 

JOSEPH MCGURL 

Fellow, ASMA 

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LAURIE REGAN CHASE 


Commissioned by the Chicago Yacht Club 

for the 100 th running of the Race to Mackinac 

official magazine cover, the painting depicts 

a blustery finish through the Straits 

of Mackinac, MI. The winds are often 

fickle, from the sustained violent storms 

of 1911, 1937 and 1970, to the expected midsummer’s 

pleasant zephyrs and drifters. 

The race from Chicago to Mackinac Island 

was first run in 1898. 

Crossing the Finish 


Storm’s Wake 

DONALD DEMERS 

16 x 20, Oi l on Linen 

Fellow, ASMA 

This painting was created from my imagination and memory of the sea along the Northeast coast. Since childhood I’ve 

been fascinated with the sea and the many effects created by changing weather. Over the years I’ve spent hours studying 

the sea first hand in order to portray its character and to capture its truth. Storm’s Wake shows the residual effects of 

a strong coastal storm and how the wind and ground swells perpetuate the sea’s motion after the storm has passed. 

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WILLARD BOND 

Fellow (Emeritus), ASMA 

Shallow Waters 

39 x 54, Oil on Gessoed Mahogany Panel 

At eighty-five years old I find that the painting paints itself; I just watch! 

You are a flying bug hovering about two inches above the surface of 

“Shallow Waters” seeing with your incredible flying bug eyes three 

different cones of vision: 1) the sunny, sandy bottom; 2) the rolling 

swells, and ; 3) four leading ships of the National Hospice Regatta 

Alliance National Championship race. But before you can tell who is 

winning a big fish eats you!

Blowing in the Wind 

30 x 38, Oil 

I love watching the wind billow out the spinnaker as the boat sails down wind. There are so many light shapes and 

shadow shapes in constant motion as the puffs weaken and strengthen. The person on the spinnaker sheet is acutely 

aware of each puff’s nuance. For this painting I wanted to paint the glory of the “spinnaker.” The boat is insignificant 

and so is the crew. But the shapes - they are the “show.” 

JOAN COLT HOOPER 


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BILL FARNSWORTH 


This scene is of a fly fisherman at Montauk Point in mid October. Many other fishermen lined the shore to catch the migratory striped bass. 

At one point, an acre-sized school swam into shore to feed. What inspired me was the rich and varied color in the water and rocks. 

The fisherman solidifies the scene with a warm contrast. 

Montauk Point 

20 x 30, Oil on Linen

Legdes of Maine 

9.563 x 13.875, Watercolor 

CHRISTINE M. BEAN 


My greatest joy is painting en plein air; expressing the feelings I get from the sights, sounds and smells of the place I have chosen to paint. 

Here the fog has burned away, the sun is out, accentuating the planes and crevices in the rocks. A breeze, along with the tide, brings 

lights to the water, and gently moves the tops of the vegetation. It’s Maine; a place to stir one’s soul. 

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PHIL CUSUMANO 


The VIRGINIA SURF Iced Up 

12 x 16, Oil on Canvas Panel 

The scene depicts the fishing vessel VIRGINIA SURF iced up as she returns to port from a very cold trip from Georges Banks. The fisherman 

on the bow is seen just after he has thrown the heaving line that is connected to the bow line. Many a fishing boat looks this 

way in the cold north Atlantic waters, similar to the crab boats in the Bering Sea on the popular TV show Deadliest Catch.

Catching the Irish Wind 


DONALD R. CURRAN 


This is a painting I did of a family on their Galway Hooker sailing off the western coast of Ireland. This vessel consists of a single mast with a main 

sail and two foresails. Traditionally, the boat is black (being coated in pitch) and the sails are a dark red-brown. 

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CONSUELO EAMES HANKS 


She was stripped of sails and ready for the winter hauling. But a beckoning sun and balmy breeze called for one last outing. 

Offshore, an October fog loomed, grew, and soon trouble rolled in gray and damp. Compass and chart were meager help. 

The granddaughters were sent to the foredeck to post the watch. The fog proved no match for those eager eyes that easily 

spied the white breakers beating against the shoals, shoreline, and finally the harbor marker. 

Bow Watch 

10 x 14, Watercolor

Casco Bay Bridge 


ANN H. MOHNKERN 


This is a view of the Casco Bay Bridge and the Portland, ME skyline from the South Portland side of the Fore River. Portland’s working 

waterfront includes the Portland-Montreal Pipe Line and a tanker unloading facility, which explains the large horizontal and vertical 

clearances. Despite its industrial nature, the curve of the span is beautiful, as are the red colors of the steelwork echoing the color of 

Portland’s brick buildings. What intrigued me are the cement piers and the protective structures around them, which were proven 

necessary after the tanker, JULIE N., struck the earlier span, the so-called “Million Dollar Bridge,” dumping nearly two hundred thousand 

gallons of oil into the river. 

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ED PARKER 


In Cod We Trust 

18 x 26, Acrylic/Mixed Medium 

It could be argued that without the abundance of cod, New England never would have been settled. For several hundred years, cod fishery 

played an integral part of New England economy and culture, and the Massachusetts state house pays tribute to this legacy by way of a carved 

wooden “Sacred Cod” hanging in its chambers. This painting is inspired by this legacy, the fishermen, and the folklore. Given the size of the 

fish, it is a bit of a “Fish Tale.”

Steamboat MASSACHUSETTS in New York Harbor 


WILLIAM G. MULLER 


The artist maintains a particular passion for 19th century steam vessels, having worked, in his late teens, aboard the Hudson River Day Line’s 

steamer ALEXANDER HAMILTON, the last of the sidewheelers. 

37

38 

JOHN BARBER 

Fellow, ASMA 

Off loading the Catch at Tilghman Island 

17 x 32, Oil 

In 1980 I sailed aboard my first skipjack in order to study how these graceful vessels caught oysters on the Chesapeake Bay. My first day was aboard the 

1901 ELSWORTH. Then, there were about three-dozen of these wooden boats dredging the Maryland waters of the bay. Today only a few remain, the last 

fishing vessels to under sail on North American waters. Here we see ELSWORTH off loading at Harrison’s dock at Knapp’s Narrows – Tilghman Island, MD.

Moonlight Passage - ENTERPRISE Departs Cleveland in 1834 

12 x 16, Oil on canvas 

RAYMOND MASSEY 

Fellow, ASMA 

The ENTERPRISE was built in Cleveland in 1825 and was instrumental in accelerating the growth of Cleveland as she brought immigrants 

west to this booming town. By the mid-1830s the ENTERPRISE 

was an old boat for the Lake Erie passenger trade as a few 

years earlier numerous larger, faster steamboats came into service. This view shows her departing the Cuyahoga River, looking 

towards the foot of Superior Street. 

39

40 

JOHN STOBART 


Sacramento: The Celebrated River Steamer 

CHRYSOPOLIS Leaving for San Francisco in 1870 


This painting shows Sacramento in 1870. The town had already burgeoned into what is now Old Sacramento in only 30 years and this reaches some 

eight blocks in from the riverfront. The CHRYSOPOLIS turns in midstream to begin her seven-hour passage to San Francisco. To the right a working 

towboat maneuvers a barge with its own wheelhouse and laden with sacks of farm produce to an upstream wharf while square riggers and schooners 

rest at their berths.

The Wilkes Expedition off Gig Harbor, May 11, 1841 

19 x 30, Watercolor 

MARK MYERS 

Fellow, ASMA 

I chose this subject because of the importance of the Wilkes’ Expedition’s visit in charting Puget Sound and stimulating the nation’s interest in the Pacific 

Northwest, all leading to the region’s later adoption as United States’ territory and eventual statehood. Another inducement to paint this was an unforgettably 

close encounter with a southbound U.S. Navy warship, a nuclear submarine, name unknown, while I was out in the Sound on just this spot. 

41

42 

CHRISTOPHER BLOSSOM 

Fellow, ASMA 

The Down Easter HENRY B. HYDE, Preparing to 

Anchor, San Francisco Bay 

20 x 28 Oil on Linen 

The HENRY B. HYDE was built for the Cape Horn trade to San Francisco and indeed she spent practically her entire career in it. 

Although she set no records, her fast passages made her reputation and she was a favorite of shippers. Seen here, she prepares to 

come to anchor in San Francisco Bay. The HYDE ended her career wrecked on Dam Neck Beach, Virginia on February 10, 1904 while 

under tow from New York to Baltimore.

The Mighty HOOD 

20 x 30 Oil on Canvas 

RICHARD ALLISON 

For over two decades the British battle cruiser HMS HOOD was the largest warship in the world. However, because she was designed during the 

First World War on the antiquated concept of sacrificing armor protection for speed, she was outclassed by 1941. Called upon to combat a vessel 

20 years more modern in the form of the German battleship BISMARCK, the HOOD was sunk after an engagement lasting only six minutes. Of a 

crew of 1,419, there were only three survivors. 

43

44 

IAN H. MARSHALL 

Fellow, ASMA 

HMAS CANBERRA, Sydney, 1928 


The graceful 8-inch gun cruiser HMAS CANBERRA is slipping out to sea beneath the half-completed great steel arch of Sydney 

Harbour Bridge. In the background, Circular Quay and the streets of Sydney are being threatened by thunderclouds. CANBERRA 

was built on Clydeside, arriving with her sister ship AUSTRALIA to join the Royal Australian Navy earlier that year. They were two of 

the 13 County class cruisers, designed for commerce protection that played a large role in World War II.

On The Delaware, Early 19th Century 


VICTOR MAYS 


The Durham boat was developed in the 18th century as a ferry, freight carrier, and general workboat on the Delaware River. It could be poled, rowed, or 

sailed under a short one- or two-masted rig. It was steered with a stern sweep. Here, a Durham boat and merchant ship stand in toward Philadelphia on a 

brisk breeze. 

45

46 

DON STONE 

Fellow, ASMA 

This painting depicts a fleet of Gloucester schooners getting an early start on a day of tub fishing on the banks. 

On the Banks 


Sea Expressions/Green 

24 x 26, Oil 

Living a short walk to the sea is wonderful. Sea Expressions/Green is my interpretation of a tumbling wave 

crest and its foam shapes. The painting has subtle variety in color and pattern. This is one of a series of 

work, usually presented in a square format, that focuses on a concentrated area of the spacious ocean. 

ANN M. MURPHY 


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48 

JIM GRIFFITHS 


Last of the Day 

Gouache 12.5 x 19 

The painting depicts the American extreme clipper ship JOHN BERTRAM running on a starboard tack under moderate winds as the setting sun 

illuminates the storm clouds behind her. The JOHN BERTRAM was the pioneer ship for the Glidden & Williams Line of San Francisco-Boston 

packet ships. Launched in 1850, she was a ‘Cape Horner’ making quite a few runs from Boston to San Francisco and then on to the Orient.

Evening Arrival 


This beautiful ship is the CALIFORNIAN. She is 

arriving to Santa Catalina Island at sunset on a warm 

summer afternoon. The artist imagines the sailors 

looking forward to a nice meal in the galley with grog 

and grand tales of adventure. Debra and her husband 

were in Avalon Harbor at Catalina island on their 

sport-fishing boat GROUPER. They saw the ship 

approaching and jumped in their dinghy to get a closer 

look. It was still afternoon light and not yet sunset 

when she shot the photos. Debra added the light 

glowing from inside the ship then changed the 

atmosphere and clouds to reflect sunset. This was to 

honor the beauty and history of the ship and crew. 

DEBRA HUSE 


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50 

WILLIAM P. DUFFY 

Fellow, ASMA 

Late Afternoon and Catboat 

10 x 14, Oil 

Ever since my family first spent vacations in Brewster, MA, on Cape Cod, I have used the beached catboat as a theme in many of my paintings. 

Long before I had ever heard the term catboats I was drawing and painting them on the sand “flats” because of their intrinsic beauty and as a 

means to express my feelings about those vacations

Down East Island 


ROBERT T. BLAZEK 


A fresh breeze, tangy with the scent of salt, stirs the wispy layer of morning fog, gradually revealing a distant island. Below, the sea water washes 

quietly over the colored stones and unfolds along the narrow rocky edge of the shoreline as the tide turns and flows back to the open sea. 

51

52 

MARY ERICKSON 


Light Steps 


A predawn set up allowed me to capture this moment on a beach along the Gulf Coast of southwest Florida. As a gentle morning breeze swayed the 

grasses, the first rays of sunlight touched the cool sand and began the warming of the day

The Boathouse, Lake Winnipesaukee, N.H. 

18 x 30, Oil 

SERGIO ROFFO 

Fellow, ASMA 

I was invited to paint up in the lakes region of New Hampshire one summer with several other painters. I was scouting the shoreline when I came upon 

this beautiful white boathouse on the grounds of an exclusive country club. This famous glacial lake is 21 miles long with a depth of 212 feet. This Native 

American name, Winnipesaukee, means, “Smile of the Great Spirit,” who on this particular day was smiling down upon me as I painted away. 

53

54 

BOB PERKOWSKI 


Dry Dock 

17.5 x 26.5, Watercolor 

I found this old boat on blocks at Brown’s Marina along the lower Housatonic River in Stratford, CT. At one time it worked the river, seeding 

and harvesting oysters. Today it just seems to be collecting boatyard junk. Notice I placed the boat almost smack in line with the river behind it? 

Symbolic, that this old blue boat will always be part of the Housatonic and its history.

Rowboat at Villajoyosa 


MARY LOUISE O’SULLIVAN 


In my boat paintings, I concentrate on character and texture. I won the Trompe L’Oeil prize in art school (Boston Museum School) and love to convey 

the feeling of the wood grain and the early light catching the edges of peeling paint. Spare me shiny varnish, slick, unblemished white paint, and 

above all the amorphous fiberglass. Boats should have ribs like birds have feathers and joints. Everything – even the old and decrepit – 

becomes more beautiful when reflected in water. 

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56 

DEBRA REID JENKINS 


This is a view of Lake Michigan when the water is near 70°. 

The combination of warm temperatures and no storm activity 

leads to very clear water with little wave action. A gentle west 

wind creates multiple horizons with small ripples reflecting 

the sky and giving us glimpses of the light-filled sand below. 

I’m drawn to the complexity of patterns in nature. In my work 

I am looking for the imagery to exist as both abstraction and 

realism simultaneously. 

Warm Water West Wind 


Hole Inspector 


I am always looking for a reason to paint Caribbean water and native craft. The conch boat is from a photo I took years ago in 

the Nassau harbor, when boats were built of wood, not fiberglass, and still retained their classic lines according to their function. 

The subject of the painting started out as just conch shells, boat and water. Then the egret appeared, disappeared, and 

reappeared in its present location, not unnoticed by the snapper. 

AL BARNES 


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58 

MICHAEL KILLELEA 


One of the few commercial fishing areas left in Florida is the sleepy west coast village of Cortez. Commercial boats and their gear 

crowd the piers while gulls demand their share of anything edible. The ever present scent of fish out of water, mixing with diesel 

fuel and tar, envelop the area and give it an authenticity that can’t be duplicated. It’s a little like a Hemingway novel come to life, 

and I loved painting there. 

Cortez Fishing Docks 

14.5 x 19, Watercolor

Ships Aglow I 


LOUIS STEPHEN GADAL 


Night light paintings developed years ago when I only had time to paint outdoors at night. It started with a series of paintings on the Santa 

Monica Pier, and I painted these subjects for many years. In 1992 I returned to the nocturnes with a painting of the fishing boats at Dana 

Point. It was very successful and well received. I continue to enjoy the challenge of capturing the boats in the light of the night. 

59

60 

GORDON BOK 

Carrier and Seiner 

12 ½ h x 38 w x 1 ¼d , Butternut 

The purse seiner (background) is tying alongside the anchored carrier for the day in a nook of the coast. They’ve searched all night for schools 

of herring that the spotter-plane told them about. 

Tonight the seiner will head off again. If he finds fish, he’ll run a seine net around them and call the carrier to “come on the twine,” pump the 

fish into her hold, and take the catch home to the packing plant. Today they’ll sleep.

The Daily Double – Yellowfin Tuna 

20 x 10 x 15, Bronze 

Yellowfin tuna are an engineering marvel of 

the ocean. Built for endurance and speed, 

their streamlined bodies with retractable 

fins make them extremely fast and powerful, 

yet energy efficient for making long distance 

journeys. The combination of sinuous curves 

from the pair of fish, with the cambering 

wave, generates a feeling of command and 

motion within the sculpture. I was intrigued 

by the beautiful characteristics of their form 

and the interesting negative space I was able 

to create in my composition. 

 

KIM SHAKLEE 

Fellow, ASMA 

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62 

DON R. MAITZ 


Reproduced in National Geographic Magazine, May 1999, this depicts Black Sam Bellamy’s 

capture of the WHYDAH GALLEY in 1717. The slave ship was outbound from Jamaica with 

treasure from its live cargo delivery. The now pirate vessel sailed northward capturing prizes 

until storm-wrecked off Cape Cod. Boarders separated captain from crew to determine treatment 

and conditions. Fair usage signified better disposition towards the captain by the pirates. 

Items in the hold were shared out; personal items and clothing went to the boarding party. 

Taking the WHYDAH 

28 x 28, Oil on Panel

The Follower 

16 x 20, Oil 

A sailor alone at sea chances upon a mother humpback and her calf. Leaving the Hawaiian islands their heading is a 

North-NorthEast direction for the feeding grounds of Alaska. 

DON MCMICHAEL 


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64 

MIKE KOWALSKI 


The Rat Tailed Boltrop 

12 x 15, Watercolor on Paper 

This is a portrait of sail maker Sean Rankin. I caught him in his sail loft at the Northwest School of Wooden Boat Building in Port 

Hadlock, WA doing winter repair work. I was drawn to the fabric of the sail, leading to the activity of his handwork. The bit of sun 

raking across the sail reminded me of paintings by Sargent and Sorolla.

Lobster Company 

Oil on Linen Panel, 9x 12 

JONATHAN MCPHILLIPS 

I have painted this view numerous times, both in the studio and on location. However, this was my first attempt at a “snow” 

version of the scene. The winter of 2010-11 was particularly arduous in New England, and that definitely was a driving force behind 

this image. I wanted to convey the rugged nature of a fishing village that continues working no matter the weather. 

65

66 

PETER S. BOWE 


Cascading Penguins 

Bronze/Marble Base, 10w x 10d x 28h 

This piece captures the one moment that penguins 

are airborne as they dive into the ocean from an ice flow. 

Adelie penguins are one of the most common and 

well-known of all Antarctic penguin species, their black 

and white coloring giving them the stereotypical 

tuxedo-like appearance. With sleek bodies adapted to 

the frigid Antarctic waters, they are powerful swimmers 

who fly with grace and beauty in their undersea aquatic 

environment.

Grand Chase 

25h x 9.5w x 5d, Bronze 

While fishing or diving in the world’s oceans, I’m 

constantly fascinated with the furious power yet 

graceful shape of the blue marlin. The mature female 

can be much larger than the male, sometimes reaching 

over 1,000 pounds – a “grander.” In this sculpture a pair 

is breeching in a “Grand Chase.” 

 

KENT ULLBERG 

Fellow, ASMA 

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68 

THOMAS N. GRAVES 

SIGNATURE MEMBER, ASMA 

RHUMB PUNCH 


RHUMB PUNCH, a Farr 30, is racing in Key West’s Race Week. 

She’s on a run to the leeward mark as a squall passes.

Beating the Storm – Morro Bay, CA 

12 x 18.5, Watercolor 

RAY J. HUNTER 


I caught this image of the SOUTH BAY vessel returning to Morro Bay, California just as the incoming storm was turning the waters turbulent. The 

vessel had rounded Morro Rock to enter this safe harbor. This vessel challenged me with its texture and the way the light caught the waves. 

69

70 

ROBERT V. LEROY 


Wrightsville Beach Afternoon 


These teenagers are having fun with their sailboats in the warm waters of Banks Channel near Wrightsville Beach, a North Carolina 

barrier island. In the background are the homes and summer bungalows of this coastal community which is across the Intracoastal 

Waterway near Wilmington, NC. I like this subject because it is contemporary, close up, full of sunlight, and it enables me to show 

the motion of the wind in the sails and the movement of the waves.

The Boat Ramp, Rockport, MA 


RICHARD K. LOUD 


This painting started out en plein air and was finished in the studio. I used a coarse canvas to create more texture in the work and 

a limited palette of six or seven colors. The subject –with its dark foreground and light background alongside the white sailor, 

bathed in sunlight – inspired me. 

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72 

JEFF ELDREDGE 


The work is meant to show a vessel at sea on one of those nights that makes the night watches go a little easier. 

The wind is steady off the starboard quarter, and the sea is easy with moonlight to help the lookout. The ship is a 

“Downeaster,” one of the deep-sea sailing vessels built in New England after the Civil War. These vessels were 

considered by many to be the best of wooden seagoing sailing ships. 

Downeaster 

16 x 20, Oil

Tied Up 


This scene evoked a passion within me to interpret the way color and tonal values of an ordinary subject could be affected by 

atmosphere and light to achieve an ultimate goal of a powerful design. An image in my mind of three to four dynamically arranged 

triangular shapes showed the striking effects of light in creating the dinghy’s three dimensional form by painting it monochromatically 

with near maximal value contrast. 

MIKE MAZER 

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74 

PETER TAYLOR QUIDLEY 


Adrift 

20 x 30, Oil on Panel 

Influenced by the Pre-Raphaelites, Peter has captured a whimsical scene of a young woman drifing in a beautiful lapstrake wood skiff. 

She gracefully sits with her feet drawn up with the sunlight dappling across her flowing white dress playing the piccolo as the boat gently 

drifts in calm water. She is lost in a world of her own, blissfully unaware of her surroundings or where she is floating, intent only on 

the peaceful melodies that she plays. Is she trying to draw the attention of the marine life below? 

Peter, having grown up on the coast, is renowned for both his portrayal of figurative work and classic sailing yachts.

Schooner BRILLIANT off Weekapaug 


WILLIAM G. HANSON 


This work, Schooner BRILLIANT off Weekapaug, is an example of the additional benefits of working in en plein air. While painting Spray Rock, a personal favorite 

subject, this beautiful schooner, out of Mystic Seaport, hugged the coast before tacking to Block Island. Any attempt of capturing the moment was left 

with my visual memory, recorded directly to the panel and articulated back in the studio. 

75

76 

IVAN KELLY 


Sculptured by Pacific Storms 

22 x 30, Acrylic 

Nothing but the Pacific lies between these dunes and Asia. Every winter the dunes bear the full brunt of our Oregon Coast gale-force winds which remodel 

them into these elegant pristine shapes. Quite ordinary at midday, they take on a special quality of light, shadow, and color in the early morning sun.

Paine’s Creek II 

24 x 36, Acrylic on Canvas 

H. HOWARD HEATH, JR. 


Many areas of artful and photographic interest can be found on Cape Cod during any time of day or season. The cape’s sandy beaches, dunes, tidal 

creeks, sky, light, and effects of ocean currents on the shores combine to present endless opportunities of changing color and texture. The tranquil 

scene of Paine’s Creek II resulted from many visits there, a few color sketches, photographs, and memory recollections. The final painting, on 

stretched canvas, was finished in my studio. 

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78 

BERNARD KORITES 

The Clammer 


This is a scene of Duxbury Bay in Duxbury, Massachusetts, my home town. It depicts a clammer returning with his catch at low tide late in the afternoon 

on a hot, humid summer day. A Marshall Sandpiper waits on the flats for the tide to return. On the hilltop to the left is the Miles Standish monument. My 

main objective in this painting was to capture the feeling of the stillness and the heavy, humid summer atmosphere.

Shore Light 


JAMES W. MAGNER 


Shore Light is a studio piece developed from an en plein air study painted in the late afternoon along the Connecticut coast. I was 

inspired by the late day sun and diffused light on the distant shore. This unique atmospheric condition drew me to the subject. 

I developed quick color studies, which I relied on for the final work, to capture the rapidly changing light. 

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80 

JOHN R. ATWATER 


Sachem’s Head, Afternoon Glare 

5 x 10, Alkyd on Panel 

Capturing the warmth and brilliance of the late afternoon sun required a poetic, rather than photographic, interpretation of this view of Sachem’s Head 

Harbor in Guilford, CT. In fact, many times while painting, I held one hand up to shield my eyes from the glare, as I struggled to record the details and 

beauty of the intensely bright scene.

Sunset, Quepos 


ANTHONY R. THOMPSON 


A recent trip to Costa Rica provided the background and inspiration for this work. I enjoyed a wide tropical beach with great 

surf and a fabulous sunset that became a much anticipated daily routine. In Sunset, Quepos, the sun has set, yet enough light 

remains to allow the viewer to distinguish the warm color before blue turns to gray. 

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82 

FRANCIS MOREY 

This work is from my latest plate, part of the series inspired by early America’s Cup challenges. 

This was a time when the owners, crew, and the yachts were and remain the Titans of yachting. 

The subject is the 1903 America’s Cup challenge off New York, RELIANCE vs. SHAMROCK III. 

The challenge was to capture the power and grace of these magnificent vessels, to which all that follow are compared. 

1903 - The Start 

Copper Plate Etching/Remarque, 16.5 x 23.5

Entrance to Rockport Harbor 

11 x 14, Scratchboard 

DAN DOOLITTLE 


This is the entrance to Rockport Harbor, Cape Ann, MA. My scratchboard rendering is brand new and based primarily on a photograph I took 

circa 1960. Many, many years ago, the building was a lobster pound and now it has become so popular, that it has been nick-named “Motif 

Number One.” Along the front are lobster trap floats, each one color coded to identify the registered lobster fisherman owners. 

83

84 

LAURENCE JOHNSTON 


Burnt Island is located near the entrance to Boothbay Harbor, Maine. I was attending a painting workshop. The class traveled to the 

island under less than ideal weather conditions. While circling the base of the island lighthouse, I came across this view of the bell 

silhouetted against the fog shrouded sky and water. I knew instantly that I wanted to paint it, photographing it for future reference. 

Lighthouse Bell 


Dunes, Nantucket Harbor 

8 x 10, Pastel 

JOANN A. BALLINGER 


This painting was done en plein air on a painting trip to Nantucket, MA. Nantucket is a beautiful island; there is inspiration everywhere 

you look. The late daylight was amazing, and I couldn’t wait to paint the scene. It was windy, and I had to paint fairly fast 

to capture the light that changes ever so quickly at that time of day. This painting was done on pastel sandpaper which allows for 

a very rich looking painting. 

85

86 

DAVID W. SMITH 


Gloucester fishing schooners were known as the 

wonders of the maritime world. The combination of 

beauty, speed and seaworthiness, made it a superb 

fishing yacht. These vessels would carry onboard 

the working dories. Usually a crew of two men per 

dory would set out from the mother ship to set their 

hook-laden lines for up to a mile or more in search of 

Codfish. Despite the simplicity of design of the dory, 

they were known for their ruggedness and rowing 

ease. They could carry a very heavy load for their size 

while retaining great stability. They were inexpensive 

to build and could be stacked or nested inside one 

another to be stored on deck of the schooners. 

Dory mates 

6h x 4w x 3d, Scrimshaw

Rogue Wave aboard the CORA CRESSY, circa 1904 

21 x 30, Oil 

LORETTA KRUPINSKI 

Fellow, ASMA 

The CORA CRESSY began life in 1902 from the Percy & Small Shipyard in Bath, ME. She was a five masted schooner, 273 feet long, 45 feet wide and 

drew a whopping 27 feet. The CRESSY delivered coal along the east coast for many years until she became a floating Boston nightclub, then a lobster 

pound back in Maine. The days of the big schooner began in the last quarter of the nineteenth century as sail was giving way to steam. 

87

88 

SUSAN BARNES 

One of the many coves found along the Chesapeake Bay, this one in the Sassafras with its quiet splendor was my inspiration for this 

piece. Painting alla prima, I sought to capture the feeling one gets while anchoring there. 

Anchored in the Cove 


Surfer’s Delight 

20 x 30, Tempera 

GUY MORROW 

Surfer’s Delight is based on the artist’s experience as a young surfer, who spent many years riding the waves of the Texas Gulf Coast. Surfing was about 

sharing friendship, tuning into the rhythm of the seas, experiencing the magic of catching a wave and being in harmony with the power and everchanging 

moods of the sea. I work to capture these feelings in the soft delicate medium of egg-tempera. 

89

90 

NORMA JAY 


A Time for Rest 

18 x 30, Oil and Palette Knife 

This lovely, authentic New England-style village, with its cobblestone streets, sits beside Ports O’ Call Harbor in San Pedro, CA, the largest port in the 

United States. Although it is obviously an extremely busy port, here we see a group of boats quietly sitting at rest.

Wine Barrel Boats 

16 x 20, Oil 

During a paint trip to Portugal, I was fascinated with the history of Port wines. Most vineyards are located in the Douro 

Valley where grapes continue to be hand harvested. Originally, wine was transported down the Douro River to Porto in 

wine barrel boats. Production continued from the “Quintas,” or wineries located on the banks of the river. Today, transport 

is handled through more modern methods; however, wine barrel boats are still seen on the water as an historic reminder. 

BRENT JENSEN 

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92 

MICHAEL J. WOODARD 

The artist served as a crew member 

aboard the DEL SOL in 1978. She is 

pictured at dusk while loading iron ore 

in Salaverry, Peru. A pale pink and blue 

sky is contrasted by the bright flood lights 

on the ship and pier. Softer fluorescent 

lights inside the ship’s wheelhouse help 

set the mood of a break bulk merchant 

vessel being loaded at night by the ship’s 

first watch. 

DEL SOL 


Overlooking the Bay 


CAROLYN G. HESSE-LOW 


On a clear spring morning at Cabrillo National Monument, the wildflowers were blooming as I looked out over San Diego 

Bay to paint this scene. What inspired me about this view was that, at a glance, you could see all the activity out on the 

water, with the many marinas, the marine research facilities, the Navy shipyards, and San Diego Harbor. I tried to capture 

the excitement of marine activity in a beautiful setting. 

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94 

JIM GRAY 


I was fortunate to sail aboard EAGLE, America’s 

Tall Ship and the U.S. Coast Guard’s cadet 

training, three-masted steel barque. I was allowed 

to go aloft many times to sketch and take 

photos during the eight-day crossing from New 

London, CT to Bermuda. EAGLE High is a view 

from the mainmast crosstrees, looking forward 

and down to the deck. That voyage will always 

be one of my greatest adventures. 

EAGLE High 


Topmast PRIVATEER LYNX - 1812 


LINDA M. NORTON 


During the war of 1812, American PRIVATEER LYNX harassed the British Navy. After her capture she was taken to England where her 

dimensions were recorded by the British Admiralty. In 2001 this reproduction, built by Rockport Marine, was launched in Rockport, 

ME. Having spent two years observing the building, I was intrigued by the complex rigging of the topmast at the launching. This 

depiction reveals its details against the cool blue sky. 

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96 

MARIS V. PLATAIS 


There is a certain tranquility during a morning low tide. The lone dory on the flats has not yet been hauled out, and there is no 

other activity on the bay. The calm sea in the distance gives the feeling of an Indian Summer day. This painting was inspired by 

Sagadahoc Bay in mid-coast Maine, and is the result of over 40 years of observations and recollections. It was painted primarily 

en plein air with liberal artistic interpretations. 

On the Flats 

16 x 20, Acrylic on Canvas

Made by the Sea 


In Southern Maryland, Deep Point juts into the western side of the St. Mary’s River. Over the years the 30-foot bluff has 

been alternately eroded by southerly and northerly winds and in such a way that the Miocene era fossils and clays have 

formed a small lagoon. Around the area grows a luxuriant matt of salt marsh grasses. By spring, winter’s efforts have 

made the once orderly growth look like tousled, sandy hair. 

PETER EGELI 

Fellow, ASMA 

97

98 

GARY R. ORO 

Night Breakers 


This work is a depiction of the night surf off a Cape Cod beach under bright moonlight. It was painted in the artist’s studio mainly from 

memory and a few sketches done at the scene. In this work, the artist intended to convey the movement, power, and mystery of the night sea.

The Dog Watch 


STEVEN W. LUSH 


Life aboard this small coastal tanker includes the practice of “dogging” the 4 to 8 afternoon watch. This allows the 4 to 8 and the 8 to 12 watch standers 

to eat dinner. Getting to and from the galley located back aft can sometimes be stressful! 

99

100 

EDWARD MINOFF 


October, Through the Fog 

8 x 20 inches, Oil on Linen 

The painting aims to capture the melancholy of a rainy, fall day. The wave forms are languid: long and lazy, and the water reflects the murky grays of the 

heavy sky. Perhaps due to light sensitivity that caused paralyzing headaches as a child, I have always found comfort in the muted tones of an overcast day. 

The painting is entirely a work of fiction, created from imagination, supported by years of study of the anatomy and nature of the sea.

Forgotten Beach 

18 x 36, Oil 

DEBRA NADELHOFFER 

Attracted to the natural rhythm of line, masses, and values from the marsh to the strip of sandy shoreline, I formed the abstract shapes of grasses and mud 

in darks and designed the interlocking shapes with the water. Wind in the grasses and in the water adds movement to the deserted scene. The gray sky is 

a perfect background for the light beach. 

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102 

JANE TUKARSKI 


Tools of the Trade 

12 x 6.5 x 4.5 

Scrimshaw on Woolly Mammoth Ivory 

The archetypal man of the sea – he transcends all cultures 

and eras. This piece was inspired by the courage and 

fortitude of those who make a living from the sea. 

The subject’s weathered face shows the wisdom he has 

gained from his efforts. This was a particularly challenging 

piece of scrimshaw because of the reverse use of white 

line on black.

Hawaii Wave 

11 x 11 x 10, Bronze 

This sculpture represents the mounting up of a wave at the instant it is about to splash 

down, while keeping a balanced asymmetrical composition. Contrasting textures and colors 

enhance the marine effect. The blues and whites are patinas, while the golden sides are 

pure, highly polished bronze. Cast in the “lost wax” technique, Hawaii Wave was inspired by 

my love of watching the ever changing seas. The challenge was to portray light elements – 

water and foam – with a heavy material, bronze 

ANA LAZOVSKY 

103

104 

ROBERT GANTT STEELE 

I was inspired to create this painting by the poem, 

From a Junk, by poet Wallace Stevens: 

A great fish plunges in the dark, 

Its fins of rutted silver; sides, 

Belabored with a foamy light; 

And back, brilliant with scaly salt, 

It glistens in the flapping wind, 

Burns there and glistens, wide and wide, 

Under the five-horned stars of night, 

In wind and wave…….It is the moon. 

Chinese Boat 

10.3 x 8.4, Watercolor

Sanctuary 


ROBERT TANDECKI 

Sanctuary: the title speaks for itself, as I wanted the viewer to see the polar bear in its cold habitat in the far north. The weather is slowly 

warming; some ice is disappearing; and this bear - on his sanctuary of a small iceberg - is looking for a larger ice flow. 

105

106 

MICHAEL BLASER 


Cincinnati Public Landing 1926 

12 x 16 

The steamer QUEEN CITY, shown leaving the Cincinnati Public Landing in 1926, ran packet service from Cincinnati to Pittsburg for 

more than 40 years. This wonderful stern wheel steamboat, a beloved fixture to towns along the Ohio River, carried freight and 

passengers in the finest style of the day. During the Great Depression, her owners maintained her like a yacht, keeping her in service 

long after she failed to make a profit. The famous Roebling Bridge still stands on the waterfront.

Leaving New Bedford 


WILLIAM A. SONSTROM 


The single-screw tug, MISS YVETTE, is slowly but steadily moving a large barge out of New Bedford. New Bedford is one of 

my favorite places. Each trip always provides new finds, especially gritty working boats such as this tug, or the scores of 

rusty trawlers that still fish out of this colorful old harbor. 

107

108 

ROBERT C. SEMLER 


USS HOPE off Okinawa - 1945 


The U.S. Navy hospital ship, USS HOPE (AH-7,) finishes loading her remaining patients in preparation for leaving the island of Okinawa 

for Guam on May 12, 1945. During her short stay of two days, having arrived on May 10 from Saipan, the Hope received 676 patients from 

ships that were either sunk or damaged on the “Picket Line.” In addition, 186 Japanese planes were “splashed” during the HOPE’S stay in 

Okinawa. The HOPE’S executive officer was the artist’s father-in-law.

Almost Ready 


F. CHARLES SHARPE 


This watercolor comes from Radio Island, one of my favorite painting spots on the coast of North Carolina. It has this great old marina and boat 

repair shed where boats of all sizes come and go for repairs and fresh coats of paint. This small shrimper, with repairs complete, is waiting for the 

tide to be eased back down the railway. 

109

110 

PAUL MULLALY 

Fellow, ASMA 

LADY GRACE depicts a tranquil winter morning in Seattle. The docks at Fishermen’s Terminal are busy with ships that are under 

repair and preparing for their next venture to the Alaskan fishing grounds. 

LADY GRACE 


The Working Lady 


After participating in the Florida Forgotten Coast Plein Air Event in Apalachicola, I returned to my studio and painted this. I 

love to paint the old, rusty and weathered subjects time and nature have affected. 

HODGES SOILEAU 


111

112 

KIM WEILAND 


Ashe to Ash was inspired during a walk on the southernmost tip of Cape May. This place, weathered by wind and 

tide, is where the currents of the Delaware rush to meet the Atlantic and play havoc on many a sailor caught in 

between. The sun-bleached hull created the only contrast. Its pastel colors, muted but obvious in the winter sun, 

became the story of Ashe, the wood often used…, to Ash, the weathered remains now immortalized in paint. 

Ashe to Ash 

10 x 11, Watercolor

Fog on the Coast 


Fog on the Coast was painted on site in a single session at Georgetown, ME. I enjoy painting the rockbound coast, and 

had hoped to benefit from favorable conditions and strong light for a summer afternoon’s work. Instead, the weather 

remained inclement, but this offered a silver lining. The dense atmosphere held for several hours, allowing for a subtle 

study in grays and tans, with an emphasis on the serrated forms where land and water meet. 

JERRY N. WEISS 


113

114 

LOIS SALMON TOOLE 


Circle of Friends 

13 x 21, Transparent Watercolor 

Standing on the bayshore beach of my New Jersey hometown, I was intrigued by the wavy whorl of grass clumps casting shadow patterns on the 

sand. After masking whites, highlights, shell, and baby crab, I created sand texture by laying a base of circular undulations with yellow ochre on 

which I flicked succeeding colors off with a toothbrush to form hills and valleys. My “sand“was ready for swirling green leaves, pearly shell and 

crab, cobalt shadows. It’s all about color.

Bass River Seashells 

14.5 x 22, Watercolor 

KAROL B. WYCKOFF 


This serene watercolor depicts some of the many shells that snuggle into and lay on top of my sandy beach at the Salt Box Association in the 

Bass River, Cape Cod section of South Yarmouth, MA. I have lived overlooking the solitude of this river for more than 39 years. It is where the 

magnificent light bounces off that river and shines into the skylights and windows of my studio, offering me a very special place to paint. 

115

116 

ANTHONY DAVIS 


The Essence of Water 

8 x 12, Pastel 

Rendering every nuance of the oceans movement and the shape of its waves is a challenge, but a welcomed challenge to the seascape artist. It can become 

a life long journey. And during this journey, a realization may occur that there is something even deeper about the ocean to communicate, something beyond 

the rendering of water, and that something is its essence.

MAYFLOWER of Boston, America’s Cup Defender, 1886 


RUSS KRAMER 

Fellow, ASMA 

MAYFLOWER was the second of three successful America’s Cup defenders designed by Edward Burgess, a brilliant young Boston designer who, as a result 

of these successes, found fame as one of the nation’s leading architects of racing yachts. MAYFLOWER is shown shortening sail with GALATEA in the 

background. Owned by the eccentric Mr. and Mrs. Henn who lived aboard with a menagerie of animals, the challenger GALATEA was no match for the 

much faster and more professional MAYFLOWER. 

117

118 

RENEE BEMIS 


Wave Dancer 

15w x 13h x 8d, Bronze with Granite and Wood Base 

Fishing off the coast of Costa Rica, where you can catch and 

release at least twenty-five sailfish in a day, as well as watching 

the acrobatics of free jumping sailfish, inspired me to 

create Wave Dancer. This piece depicts how fluid and graceful 

these dancers’ movements can be.

Rejoice 

10w x 10d x 16h, Bronze 

The beauty of the natural world has always been my inspiration, 

and creatures both domestic and wild, as well as 

people, fascinate me. The spirit and gesture of the subject, 

and the feeling of implied movement are my goals. Travel 

and adventure allow me to study a wide array of creatures, 

and they appear in bronze or stone, in sizes ranging from 

small to monumental. I enjoy finding new ways to express 

the spirit and form of the subject. 

CATHY FERRELL 


119

120 

EDWARD M. GRIFFITH 


Impoundment of the KIMBERLY 

24 x 16, Acrylic on Board 

It was early in the morning as I headed up the Cape Fear River. I was impressed with the unusual visual effect on the river. The 

water appeared almost like liquid metal. My intent was to capture this moment photographically for a later painting. I did not 

realize that the tanker KIMBERLEY was at this moment being impounded by federal marshals for non-payment of bills. Several 

months passed before the ship was finally auctioned off in Wilmington, NC.

Blue Boat 


Blue Boat was inspired by a trip with my friend and fellow artist Stephen Bergstrom who flew us to Southeast Alaska in 

search of old wooden fishing boats and harbors to paint. On the taxi from the airport to Sitka, as we crossed the big 

bridge, I knew immediately what I wanted to paint. I wanted to shout, “Stop! Let me out!” Sunlight through the dark 

clouds lit the fishing boats and buildings as the blue boat circled below. 

HAROLD W. JOHNSON 


121

122 

JERRY F. SMITH 


Early Snow - Vinalhaven 


Many painting trips to the coast of Maine have revealed the area in its various moods and atmospheres. A November trip to Vinalhaven Island surprised me 

with an early heavy snow. It melted quickly, but in the meantime, presented me with a wealth of painting material. Late afternoon light spreading across 

the harbor definitely made the trip a rewarding experience.

She 

13 x 26, Scratchboard 

PAULA WATERMAN 


Birds are probably my primary subject matter and a favorite from subtropical regions is the Anhinga, an ancient species of diving, fishing 

bird. I found mine on the Florida Gulf coast in January. Anhingas remind me of hieroglyphics when they hold their wings out to dry 

their feathers in the sun. 

123

124 

KATHERINE B. YOUNG 


A Place for Conversation 

16 x 16, Oil on Silver-Leafed Panel 

A Place for Conversation is part 

of my series “Places for 

Reflection,” a group of oil 

paintings, drawings, and 

mixed media pieces. The 

major works are all painted 

on top of metal leaf (gold, 

silver or copper) and depict 

vast spaces of ocean and 

sky. The artworks in this 

series explore the relationship 

between the natural 

world and the divine. They 

are intended to evoke the 

contemplative places that I 

often find in nature.

Moment of Clarity 


LUKE STEADMAN 


In Moment of Clarity, a shower passes and the clouds part, allowing the light of the sun to appear. It falls upon a solitary figure standing at ease along the 

shoreline and looking beyond the horizon of the sea. Void of distractions, clarity of thought emerges in this moment. 

125

126 

SYDNEY ZENTALL 


Liquid Emotion 

30 x 46, Oil 

Sydney Zentall, an oil artist of the sea, gathers images from abandoned early mornings and late afternoons, as well as during storms when the wild, 

reflective, and soulful qualities of the sea are most vivid. Liquid Emotion captures these margins in time.

Gentle Giant 

25w x 13h x 12d 

“ 

ROBERT J. LAGASSE 


The whale shark is the largest fish in the sea and can grow to 60 feet long. Their main food is plankton being filter feeders similar to whales. 

The inspiration for the piece came when the artist swam with four whale sharks in 2009. Being bumped on a couple of occasions by them was exciting. 

Fond recollections flowed while making this piece. It is made from structural laminate with a black walnut base and finished with Tung oil. 

127

128 

LEONARD MIZEREK 

Fellow, ASMA 

Drifting Into Honfleur 

24 x 36, Oil 

Honfleur, a town in Normandy, France, is a place that I frequent on my yearly painting trips. A city full of contrasts, Honfleur is surrounded by 

ancient buildings which house some of today’s most exclusive hotels, shops and restaurants. Honfleur grew from constant change throughout its 

history. It was where the Impressionists met and painted, which gives an artist a sense of history while painting there.

The Mesier Mill, 1695 


L.F. TANTILLO 

Fellow, ASMA 

2011 marks the tenth anniversary of Nine/Eleven. In the late 1600s the ancestors of Andrew Hendricks operated a windmill on that property. 

I was commissioned to depict the site as it might have appeared at that time. The project required substantial research. In the end I was 

able to create a credible rendition of the site based on historic documentation. My image represents the Mesier Mill, circa 1695, as seen 

from the Hudson River in the approximate location of Ground Zero. 

129

130 

LISA EGELI 


The soft shorelines of Deep Cove Creek are protected by the fact that the waters here are only deep enough for canoes and birds, 

giving it a unique peacefulness. 

Evening Sigh 

18 x 24, Oil on linen

Beach Morning 

30 x 36, Oil 

Residing near Hilton Head Island, SC, I am fortunate to live in close proximity to the beach. I often go to view the sunrise. 

Arriving while it is still dark, I never know what the light effect or cloud formation will be. On this particular October 

morning, the structure of the clouds and the golden glow of the horizon were magical. I was immediately inspired to 

capture the moment on canvas. 

MICHAEL B. KARAS 

Fellow, ASMA 

131

132 

WILLIAM R. DAVIS 

Fellow, ASMA 

Schooner off East Dennis 


This work allowed me to express my painting nostalgic views in a modern world. It is a composite of two en plein air works done in East Dennis, MA, and 

another oil sketch of the sky and water. The beach, flats, and rocks are very much real spots on the north side of Cape Cod. The schooner in the distance 

allowed me to turn back to a time when Cape Cod Bay was full of sailing vessels heading back and forth to Provincetown.

Amistad 


WILLIAM P. STORCK 

William Storck often draws inspiration from the many historic schooners that annually visit the Chesapeake Bay. In his painting Amistad, we see several 

topsail schooners waiting for the wind on a placid evening in the lower Chesapeake. The artist prefers painting “living” vessels that he can observe firsthand, 

directly from nature. Making small studies from his boat, he then uses them in his studio to complete larger finished oils. 

133

WEST FRASER 

Fellow, ASMA 

134 

Ancient Curves 

18 x 24, Oil on Linen panel 

On cool, crisp summer mornings like this the fishermen are certainly out; I’m out painting, and the Hurricane Island, Outward Bound 

boats are departing their campsite. Painted on Hourglass Island in Penobscot Bay, ME, lobster fisherman Steve Alley is seen hauling 

traps aboard Norma Jean out of Vinalhaven.

FELLOWS EMERITUS 

Bond, Willard - Barryville, NY, p 28 

Jay, Norma Joyce - Escondido, CA, p 90 

Mays, Victor - Madison, CT, p 45 

Muller, William G. - Cotuit, MA, p 37 

Ryan, William E. - Naples, FL 

Stobart, John - Salem, MA, p 40 

Stoltenberg, Donald - Brewster, MA 

FELLOWS 

Barber, John M. - Richmond, VA, p 38 

Bareford, David K. - Stonington, CT, p 14 

Blossom, Christopher - Stratford, CT, p 42 

Carey, June - Chico, CA, p 24 

Davis, William R. - Harwich, MA, p 132 

Demers, Donald - Eliot, ME, p 27 

Duffy, William P. - Catskill, NY, p 50 

Egeli, Peter E. - Drayden, MD, p 97 

Fraser, West - Charleston, SC, p 134 

Karas, Michael B. - Okatie, SC, p 131 

Kramer, Russ - Mystic, CT, p 117 

Krupinski, Loretta - S. Thomaston, ME, p 87 

Marshall, Ian - Southwest Harbor, ME, p 44 

Massey, Raymond - Snyder, NY, p 39 

McGurl, Joseph - Cataumet, MA, p 25 

Mizerek, Leonard - New York, NY, p 128 

Mullally, Paul T. - Seattle, WA, p 110 

Myers, Mark - Bude, Cornwall, p 41 

Robinson, Charles Raskob- Washington, CT, p 18 

Roffo, Sergio - Scituate, MA, p 53 

Shaklee, Kim - Brighton, CO, p 61 

Stone, Don - Exeter, NH, p 46 

Tantillo, Len F. - Nassau, NY, p 129 

Ullberg, Kent - Corpus Christi, TX, p 67 

SIGNATURE MEMBERS 

Ahmad, Teresa L.C. - Woodbridge, VA 

Aiken, David C. - Green Cove Springs, FL 

Andrus, Steve - Manteo, NC 

Armstrong, M.H. Hurlimann - Menlo Park, CA 

Atwater, John R. - Avon, CT, p 80 

Averill, Robert - Niagara Falls, NY, p 23 

Bach, Del-Bourree - Mystic, CT, p 13 

Bakran, Scott - Norfolk, VA 

Ballinger, Joann A. - Bozrah, CT, p 85 

Barnes, Al - Johnson City, TX, p 57 

Bartlett, Christopher - Hunt Valley, MD 

Bean, Christine M. - No. Dartmouth, MA, p 31 

Beaumont, Dennis C. - New Castle, DE 

Bemis, Renée - DeKalb, IL,p 118 

Berg, Rosamond - New Canaan, CT 

Betts, Brad C. - East Boothbay, ME 

Bewall, Douglas A. - Gold Beach, OR 

Blaser, Michael F. - Bettendorf, IA, p 106 

Blazek, Robert T. - Litchfield, CT, p 51 

Boehme, Nicky - Santa Rosa, CA 

Bonamarte, Lou - Old Lyme, CT 

AMERICAN SOCIETY OF MARINE ARTISTS MEMBERSHIP LIST 

Catalog page numbers are given for those exhibiting in the 15th National Exhibition 

Bowe, Peter S. - Stratford, CT, p 66 

Boyer, Richard - Salt Lake City, UT 

Bronson, Elizabeth - McClellanville, SC 

Burnell, J. Robert - Portsmouth, VA 

Bush, Ralph V. - Waldoboro, ME 

Cean Youngs, Shirley - Bozrah, CT 

Chase, Laurie Regan - San Francisco, CA, p 26 

Chong, Hiu Lai - Rockville, MD, p 21 

Christman, Reid A. - Vero Beach, FL 

Cole, Rodney L. - Wallingford, CT 

Consor, James B. - New York, NY 

Cook, Alexander Burns - University Heights, OH 

Coolidge, David W. - Naples, FL 

Curran, Donald R. - St. Louis, MO, p 33 

Cusumano, Capt. Philip - Gloucester, MA, p 32 

Davis, Anthony - Lindenhurst, NY, p 116 

Davis, Darrell - Arlington, TX, 

Donovan, Patrick - St. Margarets Bay, Dover 

Doolittle, Daniel M. - Aurora, CO, p 83 

Dwyer, Austin A. - Mukilteo, WA 

Egeli, Lisa - Churchton, MD, p 130 

Eldredge, Jeff - North Carver, MA, p 72 

Ellenberger, Roger W. - Kennebunk, ME 

Erickson, Mary - Marshville, NC, p 52 

Farnsworth, Bill - Venice, FL, p 30 

Ferrell, Catherine K. - Vero Beach, FL, p 119 

Fortunato, Nancy - Palatine, IL 

Gadal, Louis Stephen - Los Angeles, CA, p 59 

Gaffney, Frank - Mountlake Terrace, WA 

Gerster, Dr. John W. - Greenwich, CT 

Giordano, Robert - Huntington, NY 

Goertemiller, Richard C. - Reedville, VA 

Graves, Thomas N. - Stamford, CT, p 68 

Gray, James C. - Pensacola, FL, p 94 

Griffith, Edward M. - Wilmington, NC, p 120 

Griffiths, Jim - Glenview, IL, p 48 

Grosvenor, Richard - Newport, RI 

Hanks, Consuelo E. - Jefferson, ME, p 34 

Hanson, William G. - Bristol, CT, p 75 

Heath, David Griffith - Goodview, VA 

Heath, Jr., H. Howard - Yarmouthport, MA, p 77 

Hendershot, Bradley - East Greenville, PA 

Henderson, Steve - Dayton, WA, p 17 

Hesse-Low, Carolyn - La Jolla, CA, p 93 

Higdon, Randall R. - Coloma, MI 

Hill, Anne Brodie - Gainesville, GA 

Holtzclaw, Paula B. - Waxhaw, NC 

Hooper, Joan Colt - Marblehead, MA, p 29 

Horrigan, Lisa - Dayville, CT 

Horton, Mark K. - Mt. Pleasant, SC 

Hughes, Neal - Moorestown, NJ 

Hull, Jeffrey - Cannon Beach, OR 

Hunter, Ray J. - Santa Barbara, CA, p 69 

Huse, Debra - Costa Mesa, CA, p 49 

Iams, James D. - Timonium, MD 

Jenkins, Debra Reid - Lowell, MI, p 56 

Johnson, M. Lysander - Federal Way, WA 

Johnson, Harold W. - Seatac, WA, p 121 

Johnston, Laurence L. - Bellport, NY, p 84 

Kelly, Ivan - Toledo, OR, p 76 

Kenney, Charles F. - Sagamore Beach, MA 

Kievet, Fran J. - Portland, OR 

Killelea, Michael J. - Elma, NY, p 58 

Kinseley, Peter - Westport, CT 

Knott, Dee - Beaufort, NC 

Kowalski, Mike - Nordland, WA, p 64 

Kubitz, Frederick T. - Wellesley, MA 

Kusche, William Robert - Ivoryton, CT 

Lagasse, Robert J. - Bristol, CT, p 127 

LaRock, Greg - Newport Beach, CA 

Lawless, James - Cornwall-on-Hudson, NY 

Le Grue, Jeanette - Tomales, CA 

Lent, Ronald R. - Dushore, PA 

LeRoy, Robert V. - Wilmington, NC, p 70 

Levey, Gerald - Quaker Hill, CT 

Loud, Richard - Quincy, MA, p 71 

Lowe, William W. - Dana Point, CA 

Lush, Steven W. - North Andover, MA, p 99 

Lussier, David A. - Woodstock, CT 

MacGowan, John G. - Newport, RI 

Magner, James - South Glastonbury, CT, p 79 

Maitz, Donald R. - Sarasota, FL, p62 

Maloney, William - West Harwich, MA 

Maslen, John R. - Portland, OR 

Mathis, Karen - Easton, MD 

Mayer, Nickolas R. - Lincoln, VT 

McMahon, Katherine. - Ft. Myers, FL 

McMichael, Don - North Bend, OR, p 63 

Minoff, Edward - Brooklyn, NY, p 100 

Mohnkern, Ann H. - Yarmouth, ME, p 35 

Moore, Larry B. - Winter Park, FL, p 15 

Morris, Suzanne - Richmond, VA 

Morrison, John J. - Kittery, ME 

Mostert, Dutch - North Bend, OR 

Mueller, Ned - Renton, WA 

Mundy, Charles W. - Indianapolis, IN, p 16 

Murphy, Ann M. - Humarock, MA, p 47 

Neff, John A. - Wallingford, CT 

Nielsen, Mark J. - Cornith, VT 

Norton, Linda M. - Camden, ME, p 95 

Nutt, William E. - Enfield, NH 

O’Brien, Patrick - Baltimore, MD, p 22 

Olson, Jon L. - Crestline, CA 

O’Sullivan, Mary Louise - Palm City, FL, p 55 

Pahl, Pam - St. Augustine, FL 

Parker, Wilma - San Francisco, CA 

Parker, Ed - Andover, MA, p 36 

Parry, Ronald R. - East Boothbay, ME 

Penegar, Scott - Charleston, SC 

Perkowski, Robert - Milford, CT, p 54 

Pfanstiehl, Natalie K. - Newport, RI 

Platais, Maris V. - Carlisle, MA, p 96 

Quidley, Peter T. - South Chatham, MA, p 74 

Raybin, Carol J. - New York, NY 

Replogle, Jeanne L. - Cohasset, MA 

Riffenburgh, Gerrye H. - San Diego, CA 

Ritter, John C. - Columbia, MD 

Roach, John Charles - Arlington, VA 

Rogers, Steve - Lewes, DE 

Rosenfeld, Howard - Friday Harbor, WA 

Rouzie, A. William - Lake Oswego, OR 

Ryall, Alan S. - Livermore, CA 

Sabol, Jeffrey C. - Westbrook, CT 

Salisbury, Roger E. - Gloucester, MA 

Sandell, Val - Sarasota, FL 

Saporito, J. Ronald - Old Saybrook, CT 

Saylor, Grant F. - Everett, WA 

Semler, Robert C. - Bradenton, FL, p 108 

Shaffett, Richard - Sarasota, FL 

Shahbaz, Carol A. - Stevensville, MI 

Sharpe, F. Charles - Durham, NC, p 109 

Shelton, William J. - Little River, CA 

Slayton, G. Eric - Prescott, AZ 

Smith, David W. - Tiverton, RI, p 86 

Smith, Jerry F. - Crawfordsville, IN, p 122 

Snoots, Karin - Harbeson, DE 

Soileau, Hodges - Venice, FL, p 111 

Solberg, Morten - Spring Hill, FL 

Sonstrom, William - Newington, CT, p 107 

Steadman, Luke - Vero Beach, FL, p 125 

Steel, Philip S. - Ft. Pierce, FL 

Stevens, William T.C. - Portland, OR 

Stine, Alfred L. - Anderson, SC 

Strazzulla, Elizabeth - Newburyport, MA 

Syvertsen, Charles - Wading River, NY 

Thompson, Anthony R. - Langhorne, PA, p 81 

Tinney, Ronald J. - West Barnstable, MA 

Toole, Lois Salmon - Chagrin Falls, OH, p 114 

Tukarski, Jane - Crofton, MD, p 102 

Von Stetina, Bruce - Madison, FL 

Vujs, Russell J. - Harwich, MA 

Waterman, Paula G. - Eldesburg, MD, p 123 

Waters, Sylvia - Big Bear Lake, CA 

Weiland, Kim - Ocean City, NJ, p 112 

Weiler, Dale A. - Tryon, NC 

Weiss, Jerry N. - Chester, CT, p 113 

Whitbeck, Caleb - Petaluma, CA 

Whitehouse, Susan - Cape Porpoise, ME 

Whitelock, Charles K. - Salisbury, MD 

Williams, David R. - Essex, CT 

Williams, Mark - Austin, TX 

Wyckoff, Karol B. - S. Yarmouth, MA, p 115 

Young, Katherine - San Francisco, CA, p 124 

Zentall, Sydney S. - Santa Cruz, CA, p 126 

MEMBERS 

Adams, Keith - Santa Clara, CA 

Akers, Robert T. - Crystal Lake, IL, p 19 

Alexander, Ann C. - Gainesville, GA 

Allison, Richard - Rolla, MO, p 43 

Anderson, Dawn - Naples, FL 

Annino, Raymond - North Smithfield, RI 

Arlt, R. Robert - Los Angeles, CA 

Asvitt, Clifford A. - San Mateo, CA 

Atwell, Mel - Walnut, CA 

Barnes, Susan - Medford, NJ, p 88 

Barrett, Peter A. - East Haddam, CT 

Bartlett, Harley - Hope, RI 

Beattie, Jeremiah C. - Baltimore, MD 

Bender, Fred J. - Wading River, NY 

Bensen, William E. - Virginia Beach, VA 

Bernhard, G. Kenneth - Bridgewater, NJ 

Betts, Margaret M. - Auburn, ME 

Betts, Judi - Baton Rouge, LA 

Bieser, Charles D. - Palm Beach Gardens, FL 

Blackburn, Donna Macomber - Edgartown, MA 

Blades, William K. - Valhalla, NY 

Blount, Betty J. - San Diego, CA 

Bok, Gordon - Camden, ME, p 60 

Boudreaux, Chuck - Berwick, LA 

Bowen, John G. - Plantation, FL 

Braden, John B. - Tualatin, OR 

Britton, Don - Incline Village, NV 

Bruguiere, Sather - Louisville, KY 

Budicin, John - San Bernardino, CA 

Busch, Stephen H. - South Bristol, ME 

Butterworth, Barry J. - Saunderstown, RI 

Byrne, Michael - Royal Oak, MI 

Byrom, Mary - North Berwick, ME 

Cancel, Linda L. - Laurens, SC 

Carey, Kathleen - North Oaks, MN 

Christley, James L. - St. Augustine, FL 

Christy, Bonnie - San Francisco, CA 

Clark, Edward - Haddonfield, NJ 

Comiskey, Jack - Cave Creek, AZ 

Connor, Richard J. - Chelsea, VT 

Cook, Pam J. - Old Lyme, CT 

Cooke, Elwood W. - Dunkirk, MD 

Cooper, Laura - Milton, MA 

Corso, Frank P. - Salisbury, MA 

Crane, Raymond D. - Rockport, MA 

Crew, Clarence L. - Alamo, CA 

Darwin, Cynthia - Galveston, TX 

Davidson, William - Johns Creek, GA 

DeFrancesco, J.D. - St. Ives, Cornwall 

Delanty, Rick - San Clemente, CA 

Deputy, Jr., Robert A. - Prescott, AZ 

DeVore, Sadie D. - Mystic, CT 

Dickinson, Richard - Southport, ME 

Diefenderfer, John P. - Lake Ariel, PA 

Diehlmann, Christine H. - Crownsville, MD 

DiNucci, Tony - N. Merrick, NY 

Dodson, Brie J. - Fairfax, VA 

Doying, William A. - Alexandria, VA 

Draper, Fred - Eatontown, NJ 

Dunphy, Evelyn - West Bath, ME 

Dykes, Robert - San Diego, CA 

Eagleton, Mary - Yonkers, NY 

E’drie, Lorraine - Newport Beach, CA 

Egan, Henry P. - Easton, CT 

Elam, Brenda - Heath, TX 

Elam, Jr., A. Richard - Port Townsend, WA 

Elster, Clarke B. - Shoreline, WA 

Eriksen, Kerry - Lantana, FL 

Evans, Shirley Bicke’l - Vancouver, WA 

Evjy, Jack T. - Bedford, NH 

Fawcett, Charles N. - Bellevue, WA 

Fay, Efrain - North Palm Beach, FL 

Filepp, Robert - Westport, CT 

Fish, James W. - Clinton, MI 

Flinn, Marilyn H. - Sarasota, FL 

Foley, Mark D. - Seattle, WA 

Forsberg, Eric Nils - Hanover Park, IL 

Foster, Donald W. - Sherborn, MA 

Fowler, Karla F. - Olympia, WA 

Freedman, Capt. Greg - New Westminster, BC 

Fuller, Arthur - Auburn, CA 

Fulton, Nancy M. - Normandy Park, WA 

Gaskell-deSpoelberch, Elaine - South Norwalk, CT 

Geehan, Wayne E. - Acton, MA 

Gilkerson, William - Mahone Bay, NS 

Goodwin, Lisa - Centerville, MA 

Gotz, Donald A. - Framingham, MA 

Gray, Carol - Carmel, CA 

Greenhalgh, Howard - Shady Side, MD 

Gregor, Peter W. - Gilroy, CA 

Griffin, Carol - Macon, GA 

Grygiel, Michael L. - Richland, WA 

Halloran, Paul F. - Centerville, MA 

Hamilton, Janet L. - Everett, WA 

Hann, Mary Lou - Wicomico Church, VA 

Hansen, Carol - Orange City, OR 

Hardison, Micaiah - Cardiff-by-the-Sea, CA 

Harper, Carl - Altadena, CA 

Harrison, Ronald B. - Salem, MA 

Harvan, Michael - Carpinteria, CA 

Hearle, Debbie - North Chatham, MA 

Heath, Barbara A. - Westford, MA 

Heller, Sara - Random Lake, WI 

Hill, Mary Francis - Fitchburg, WI 

Hill, Steven R. - Lopez Island, WA 

Hoffman, Heinz A. - Amesbury, MA 

Hoffman, Samuel D. - Ft. Wayne, IN 

Hollinger, Thomas H. - Washington, CT 

Holmes, Jennifer - Westbrook, CT 

Hope, Brian H. - Stoney Beach, MD 

Hoyne, III, Mrs. Thomas M. - Barrington, IL 

Hu, Stephen H. - Federal Way, WA 

Hunter, Mark B. - Boonton Township, NJ 

Jacobsen, James - Port Townsend, WA 

Jacobsen, Leonard - Glendora, CA 

Janisch, Barbara - Minneapolis, MN 

Jensen, Brent - San Francisco, CA, 91 

Johannesen, Greg - Port Republic, MD 

Johnson, Dennis E. - Kutztown, PA 

Johnson, Edmond C. - North Easton, MA 

Jones, Arthur B. - Sandie Springs, GA 

Jurczak, Michael - Ketchikan, AK 

Karklins, John M. - Chicago, IL 

Kavanek, Jean B. - Bridgewater, CT 

Kelton, Rossana - Daphne, AL 

Kemkemian, Zohrab - Glendale, CA 

King, Janet - Sebring, FL 

King, Mary Kay - Carmel, CA 

Kirkpatrick, Clyde - Grants Pass, OR 

Kirsten, Richard J. - Gig Harbor, WA 

Kish, Carol - Port Aransas, TX 

Kline, Allan R. - Cherry Hill, NJ 

Klingelhofer, III, Carroll S. - Towson, MD 

Knight, Stephen E. - Centerville, MA 

continued on next page

David Bareford 

Christine Diehlmann 

Austin Dwyer 

Mike Killelea 

Russ Kramer 

Ian Marshall 

Peter Maytham 

PRESIDENT 

Russ Kramer 

VICE PRESIDENT 

Kim Shaklee 

AMERICAN SOCIETY OF MARINE ARTISTS 

BOARD OF DIRECTORS 

OFFICERS 

EXHIBITION COMMITTEE 

CHAIRMAN 

Charles Raskob Robinson 

CHAIRMAN, REGIONAL 

EXHIBITIONS 

Michael J. Killelea 

Alan Ryall 

Leonard J. Mizerek 

Steven W. Lush 

Val Sandell 

Lisa Egeli 

Leonard Mizerek 

Charles Raskob Robinson 

Alan Ryall 

Robert C. Semler 

Kim Shaklee 

Len Tantillo 

MANAGING DIRECTOR/ 

TREASURER 

Peter Maytham 

SECRETARY 

Mike Killelea 

COMMUNICATION COMMITTEE 

CHAIRMAN 

Russ Kramer 

DESIGN DIRECTOR 

Jill Harrington Nichols 

P. J. Cook 

Laurie Regan Chase 

Carolyn Henderson 

MEMBERSHIP LIST continued 

Catalog page numbers are given for those exhibiting in the 15th National Exhibition 

Koltz, B.G. Adam - Encinitas, CA 

Korites, Bernard - Duxbury, MA, p 78 

Kossiba, Marek - Beloit, WI 

Krainson, Robert T. - Gillsville, GA 

Kyle, Robert C. - San Diego, CA 

Labernik, Edward J. - Duluth, MN 

Langfield, Elizabeth J. - Somerset, MA 

Larsen, Kirk - Hicksville, NY, p 20 

Lazovsky, Ana - Kadima, Israel p 103 

Libretta, Donald F. - Vienna, VA 

Loder, Jack E. - Brick, NJ 

Lorfano, Pauline D. - Vienna, VA 

Lowe, Rebecca - Crisfield, MD 

Lyons, Emilee O. - Point Clear, AL 

Maher, Jack - Marstons Mills, MA 

Mahlke, Denise - Georgetown, TX 

Mann, Jr., Frank W. - Lancaster, VA 

Marenakos, James P. - Naples, FL 

Martino, Thomas J. - East Greenwich, RI 

Mathiesen, Don T. - Walnut Creek, CA 

Matthews, Thomas E. - Kanata, ON 

Mauck, Sandra - Paso Robles, CA 

Maytham, Peter - Smithfield, VA 

Mazer, Mike - Mattapoisett, MA, p 73 

McArthur, Wendy - Atlanta, GA 

McClees, Carol Ann - Baltimore, MD 

McDonald, Betsey Jones - Collierville, TN 

McGlynn, Mary Aspinwall - Oradell, NJ 

McGuinness, Donna - Atlanta, GA 

McIntyre, Corinne - East Boothbay, ME 

McLean, Susan O’Brien - Osterville, MA 

McPhillips, Jonathan - Saunderstown, RI, p 65 

Melina, Michele Pope - Hanover, MN 

Merton, Mimi - Essex, CT 

Mesrop, Robert - Marstons Mills, MA 

Michels, Peter J. - Stevenson Ranch, CA 

Miller, Michael F. - North Haven, CT 

Minuti, Diane - Candia, NH 

Mongeau, Robert A. - Crete, IL 

Moniz, Arthur - Fairhaven, MA 

Montague, John S. - Buffalo, NY 

Monteiro, David - Plymouth, MA 

Moore, James - Coupeville, WA 

Morey, Francis - Kittery, ME, p 82 

Morgan, Leslie R. - Heathsville, VA 

Morgan Jr., Charles E. - Treasure Island, FL 

Morrow, Guy - Corpus Christi, TX, p 89 

Mumford, Elizabeth - Hyannis Port, MA 

Nadelhoffer, Debra - Dawsonville, GA, p 101 

Nardello, James N. - Naugatuck, CT 

Nichols, Jill H.- Huntington, CT 

Nielsen, Tom - Carrollton, GA 

Nienaber, Bernard - Phoenix, AZ 

Niznik, Blanche L. - Lake Forest Park, WA 

Norris, Don C. - Hollidaysburg, PA 

Nulton, Thomas W. - Edison, NJ 

Oberg, Glen - Marysville, WA 

Obney, Michael - Yuma, AZ 

O’Hair, Michael - Yellville, AR 

Oliver, Betty - Roswell, GA 

Oro, Gary R. - Burlington, MA, p 98 

Ortner, Joyce - Santa Ynez, CA 

Pachter, Ilene C. - McLean, VA 

Parks, Robert L. - Shoreline, WA 

Peach, Nancy - Davidsonville, MD 

Pearlstine, Maynard - Charleston, SC 

Pecorella, Janet - Sacramento, CA 

Penny, Grace E. - Land O’ Lakes, FL 

Perepelitza, Daniel W. - Nahant, MA 

Perez, Roger G. - Gaithersburg, MD 

Petajan, Albert H. - Kewaunee, WI 

Peyton, Anne - Phoenix, AZ 

Phillips, Robert L. - Stamford, CT 

Piersol, Walter W. - Westfield, NY 

Piszczek, Thomas A. - Oxnard, CA 

Pokela, Jon - Gig Harbor, WA 

Poole, Gene M. – Oak Harbor, WA 

Potter, Dir., Jeanne C. - Mystic, CT 

Pulkowski Jr., Henry - Myrtle Beach, SC 

Quillin, Steve - Milford, DE 

Rabata, Allen - Houston, TX 

Rahn, Jim - Seaford, DE 

Reggio, Don - Duluth, GA 

Reminger, Richard T. - Kennebunkport, ME 

Rhoads, Eric - Austin, TX 

Rich, Sr., Robert W. - New London, CT 

Richardson, Capt. B.E. - Elizabeth City, NC 

Roth, Jamie - Kihei, HI 

Rothery, Jr., George A. - Knoxville, TN 

Rudisill, Mary A. - Merry Hill, NC 

Ruell, Stephen T. - Canaan, ME 

Ryan, Michael D. - Garnet Valley, PA 

Samuelson, Ronald A. - Potomac Falls, VA 

Sands, Gladys A. - Gurnee, IL 

Sanne, Donald L. - North Bend, OR 

Santaguida, Thomas - Brunswick, ME 

Schaefer, William G. - Indianapolis, IN 

Schatz, Mary Trivelli - Cherry Hill, NJ 

Schaub, Jeffrey - Annapolis, MD 

Schmidt, William J. - Rockville, MD 

Schonhans, Michael - New Milford, NJ 

Scott, Jr., Walter T. - Coventry, RI 

Secrest, Glenn J. - Middletown, RI 

Seward, Patsy - Ewa Beach, HI 

Sharkey, Jeannine L. - Cumming, GA 

Shaw, Mimi - Smyrna, GA 

Sherwood, Dorothy H. - Sarasota, FL 

Shin, Chin H. - Locust Valley, NY 

Silvero, Dr. Hubert L. - Lafayette, IN 

Silvia, Nancy - Santa Fe, NM 

Simmons, Katherine - Glastonbury, CT 

Simone, Robert J. - St. Petersburg, FL 

Sinacola, Matthew P. - Rochester, NY 

Smith, Harold J. - Newburgh, IN 

Smith, Joyce Halliday - Hamilton, NY 

Snyder, Thomas L. - Vallejo, CA 

Solcyk, Phyllis - Chatsworth, CA 

Soller, Eric - Charlotte, NC 

Solomon, Emily M. - Lincoln Park, MI 

Spalding, Mark - Washington, DC 

Spalinger, Laura - Sheboygan, WI 

Sprout, Randy - Los Angeles, CA 

Stagner, James G. - Johnson City, TN 

Steele, Robert - Larkspur, CA, p 104 

Steinbach, Yvonne L. - Laguna Hills, CA 

Stephens, Nona - Gainesville, GA 

Stevens, Roland E. - Pultneyville, NY 

Stewart, Brian - St. Paul, MN 

Stockbridge, Charles W. - Westport, MA 

Storck, William P. - Annapolis, MD, p 133 

Tandecki, Robert J. - Sumner, WA, p 105 

Thompson, Carol Lee - Phoenix, MD 

Thompson, Ralph N. - Newtown, PA 

Tomakan, Yasemin K. - Old Greenwich, CT 

Topp, Destinee - Random Lake, WI 

Trimble, Barbara J. - Owings Mills, MD 

Turnbaugh, David T. - Baltimore, MD 

Turner, Bruce - Rockport, MA 

Tuttle, Anne - Punta Gorda, FL 

Tyndale, Edward J. - San Diego, CA 

Velesig, Christie A. - Mashpee, MA 

Walker, Charles - Fort Pierce, FL 

Walker, Lance - S. Dennis, MA 

Walker, Robert G. - S. Dartmouth, MA 

Walsh, William R. - Grand Isle, VT 

Warner, Tom - Gt. Barrington, MA 

Way-Howard, Sharon - Sayville, NY 

Wescoat, III, Leon D. - Absecon, NJ 

White, Richard - Bothell, WA 

Whitten, Casey - Stuart, FL 

Whyte, Andrew C. - Norwalk, CT 

Wiberg, Jack. - Rehoboth Beach, DE 

Wilder, Carlton - St. Augustine, FL 

Wilkie, J. Keith - McLean, VA 

Wilshire, Jim - Roswell, GA 

Winsor, Bruce R. - Easton, MD 

Woideck, Robyn - Ft. Washington, MD 

Woodard, Michael J. - Tallahassee, FL, p 92 

Yanoski, Dennis Joseph - Morristown, NJ 

Yoder, Loretta - Nantucket, MA 

Yorczyk, Richard - McLean, VA 

Zider, Douglas J. - Amityville, NY 

HONORARY MEMBERS 

Dyson, Ed - Highlands Ranch, CO 

Jinishian, J. Russell - Fairfield, CT 

Moore, Richard C. - Willow Street, PA 

Stiles, Graham - North Wales, PA 

Stone, USN, Capt. Lester J. - Malden Bridge, NY 

Webb, Robert L. - Phippsburg, ME

American Society of of Marine Artists 

www.americansocietyofmarineartists.com

con americ contemporary american marine art - Jill Nichols Graphic ...

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