Catasus December 2025

Catasus journal of the society of animal artists DECEMBER 2025 | VOL 1 NO 2

CULTIVATING EXCELLENCE IN THE FIELD OF ANIMAL AR T SINCE 1960

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Kimberly Beck, Tree Topper, oil, 24 x 16 Art and the Animal -65th Annual Members Exhibition

Catasus journal of the society of animal artists

Catasus, an online magazine published 3-4 times annually, is the official Journal of the Society of Animal Artists, Inc, a non-profit 501(c)(3) organization.

The Society of Animal Artists (SAA), founded in 1960, is devoted to promoting excellence in the artistic portrayal of the creatures sharing our planet, and to the education of the public through art exhibitions, informative seminars, lectures, and teaching demonstrations.

The SAA’s membership, past and present, represents a veritable who’s who of artists from around the world. Artwork in this publication has been contributed by our members or sourced from the SAA’s archives. Reproduction for other purposes is forbidden without written permission of the artist(s).

Membership information is available at www.societyofanimalartists.com

THE 2025 SAA BOARD OF DIRECTORS Reneé Bemis, President Kim Diment, Vice President Kelly Leahy Radding, Vice President Cynthie Fisher, Assistant Secretary Rachelle Siegrist, Secretary Diane Mason, Vice President, Treasurer James Coe Deborah LaFogg Docherty Yelena Lamm Jhenna Quinn Lewis Bob Mason Terry Miller Lisa Nugent David Rankin Jocelyn Russell Cathleen Savage Suzie Seerey-Lester Cathy Sheeter Heather Soos Amy L. Stauffer Amy Bartlett Wright Sherrie York Wes Siegrist, Executive Director

Alison Nicholls, Impala Shade, watercolor, 11 x 14 Art and the Animal - 65th Annual Members Exhibition

Table of Contents NOTES FROM THE SAA Letters - ED & President ................. 4 SAA News .......................................5 Art and the Animal - Our 65th Annual Exhibition........................6-7 Animal Art Experience 2026.......... 8 Get to Know Your BOD Members..... 9 FOLLOW THE TRACKS… Insights from our Archives

by Wes Siegrist............................10-11

Copyright - A Cautionary Tale

by Jennifer L. Cook....................24-25 ON ANIMALS & ART Wild ABC’s: Learn, Color, Discover!

by Reneé Bemis.........................26-27 FOUNDATIONS, FIELDWORK & FOCUS Sketchcrawls in Sweden

by Måns Bergendal & Peter Elfman.. 28-39 Inspired by Africa

by Cynthie Fisher..................... 40-47

MEMBER HAPPENINGS SAA Master Sisters: Kim Diment & Rachelle Siegrist.................12-15

LINES OF THOUGHT Sketches & Studies by our Members...............................48-49

Carel P. Brest Van Kempen.. 16-19

BACK COVER Kim Diment & Rachelle Siegrist

SAA Artists in “A Vision of Nature: American Women Artists”

by Kelly Leahy Radding...................20 SAA Artists in “Of Mark And Meaning: American Women Artists”

by Diane D. Mason.......................... 21 IN PRACTICE The Benefits of Mentorship

by Diane D. Mason......................... 22

Front cover art: Carel P. Brest Van Kempen, Riparian Rashomon–Agami Heron & Brilliant Forest Frog acrylic diptych, 31 x 20

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Catasus journal of the society of animal artists

Editor

Kelly Leahy Radding

Assistant Editor Wes Siegrist

Design/Production Kelly Leahy Radding

Editorial Submission

In 2025 Catasus will be published in July and December.

We invite all members of SAA to submit content for inclusion in Catasus. Contact Editor Kelly Radding at kradding@mac.com to request space.

If you have an idea for an article topic, or to suggest a person or event to be covered, email Kelly Radding. Products cited by article writers do not imply endorsement by the SAA. Catasus does not accept advertising.

Deadlines for Articles

July Issue: June 15 December Issue: November 15

Where to find our issues

Catasus is hosted on the online platform Issuu.

Note: Issuu is a public space where Catasus will be available for the general public to read. All content is copyrighted.

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Cat Herding Report As the SAA’s executive director, I strive to organize our records, streamline our policies, and improve our membership involvement in Society exhibitions, programs, and events. In my correspondence with our president, Reneé, I often jokingly say that “Everything is going well, or else I am blissfully clueless.” The job can range from “hearing crickets” boredom, to what seems like a tsunami of issues requiring attention.

The joy of the job is when I get to enjoy time at events with many of you in person. I never cease to be amazed at the creative excellence in your work, and my intrigue and respect grow as I discover more of your life and career history. Nothing beats the joy of laughing with friends!

I encourage our members and the public reading this magazine to plan to attend the openings for our 2026 shows in South Carolina and Florida. I guarantee you will leave a better person with fond memories.

Catasus Magazine

Learn more about Catasus Magazine and the SAA here.

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Wes Siegrist, SAA Executive Director dec embe r 2 02 5

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From Our President This year has been wonderful for the SAA. We launched several initiatives for our artists—some new and some revived.

Our inaugural Animal Art Experience, our coloring books, and the redesigned Catasus made 2025 memorable. Thank you to all the artists who participated.

The SAA’s Inaugural Animal Art Experience gathered artists from all over, creating artwork in public spaces—some at zoos, others in parks—where visitors could observe and learn about animal art. We’re thrilled to announce that Animal Art Experience will again take place in 2026, so mark your calendars for the first Saturday in May. Let’s make it even bigger and better than before!

Our four fun-filled, informative, and educational coloring books about animals were another highlight. Some animals will be familiar to kids, but others—like the Zorilla!—may even surprise their parents. Each page includes a fun fact designed to make these animals unforgettable.

Finally, enjoy this beautiful edition of our redesigned Catasus magazine, made possible by the creativity and hard work of all our contributing artists. Special thanks to Kelly Radding and her editorial team for making it truly exceptional. Well done!

Visit societyofanimalartists.com to learn about more about becoming a member of the Society.

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Reneé Bemis, SAA President

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Society of Animal Artists Upcoming Annual Exhibitions

Apply for Membership to the Society of Animal Artists

Support the Society of Animal Artists

2026 The 66th Annual Art & The Animal Exhibit The Elliott Museum, Stuart, FL August 6 - December 11, 2026

Would you like to be considered for artist membership in the SAA? Our deadline to apply to our jury is January 15th, 2026. For more information and to apply for membership us this link:

The SAA also welcomes donations and patron members.

For more information, use this link, Patron Membership.

2027 The Booth Western Art Museum, Cartersville, GA

https://www.societyofanimalartists. com/how-to-join-the-society-ofanimal-artists/

2028 The Briscoe Western Art Museum, San Antonio, TX

Society of Animal Artists Special Shows 2026 A Founder’s Legacy: The Society of Animal Artists and Brookgreen Gardens Brookgreen Gardens, Murrells Inlet, SC May 9-July 26, 2026 2027 The Canton Museum of Art, Canton, OH Visit the Society’s YouTube channel for member interviews, opening weekend festivities and member happenings.

Elise Mahaffie, Peaceful Feeling, Oil on canvas, 24 x 20 Art and the Animal -65th Annual Members Exhibition

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Art & the Animal - Our 65th Annual Exhibition

story by Wes Siegrist

Wow, we did it again! So many said this was one of the best SAA events, and I agree. A lot of us spent time before or after the opening weekend exploring Grand Teton and Yellowstone National Parks. Everyone had a wildlife encounter to remember, including the up-close experiences most of us had at the Grizzly and Wolf Discovery Center in West Yellowstone.

Our 65th filled all the galleries and halls of the lovely Art Museum of Eastern Idaho, and any floor space left was occupied by artists, guests, and the public during the events. Everyone enjoyed watching Carel P. Brest van Kempen, Yelena Lamm, Kelly Leahy Radding, and Cathy Sheeter demonstrate their creative process, and Carel P. Brest van Kempen, Anni M. Crouter, Laney, Chris T. Maynard, and Ken Newman inspired us by answering questions about the challenges and highlights of their storied careers.

Bott-Borghi-Bransom Artists Animal Artists “Legacy” Award for his service over the years.

Congratulations to all who received awards in the exhibition, particularly to Kim Diment and Rachelle Siegrist for earning the coveted status of Master Signature Member by receiving their Carel P. Brest van Kempen receiving the Lifetime Achievement Award with President 5th Award of Excellence! Be sure to Reneé Bemis and Executive Director Wes watch the video on YouTube that RachSiegrist. (Photo by Frank Soos) elle made for everyone to recall the fun, or join us vicariously if you were unable The SAA honored Carel P. Brest van to be there. To view the exhibit catalog Kempen with our Lifetime Achieve- online, use this link. ment Award. Carel is only our 5th recipient to be unanimously approved by the SAA Board of Directors for this honor. [Robert Bateman 2010; Guy Coheleach 2012; Kent Ullberg 2016, John Seerey-Lester 2019, and Carel P. Brest van Kempen 2025.] The Society also recognized Albert Earl Gilbert with our SAA 65th Annual Exhibition Opening Weekend

I want to add in all the other award winners by name and award. Do we have access to Frank’s photos from the weekend to add few more here?

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SAA members enjoying the annual banquet!

(Photo by Frank Soos)

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6 7 Awards of Excellence (Clockwise from upper left.)

1. Dan Chen 5. Rita Chang Splendid Feathers Glorious Light Barn Owl Mixed media on board, 46 x 30 Acrylic on wooden cradled board, 9.5 x 7 2. Douglas Aja

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Confrontation Bronze 10.5 x 24 x 12

6. Kelly Leahy Radding Should I Stay Or Should I Go? Watercolor, 9 x 9

3. Kim Diment Big Blue Acrylic on board, 36 x 48

7. Rachelle Siegrist Undersea Elegance Watercolor on rag board, 5.5 x 3.5

4. Jennifer L. Cook Dancing Flame Bronze, 17.5 x 6.75 x 4

8. Heather Soos Sudden Encounter Oil, 24 x 30

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Society of Animal Artists Animal Art Experience!

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he Society of Animal Artists is proud to launch its second Animal Art Experience (AAE) returning on the first Saturday in May 2026. Building on last year’s inspiring inaugural event—which brought SAA artists into zoos, parks, and wildlife refuges across the country and in Europe—the 2026 Experience will once again invite visitors to watch artists at work, ask questions, and learn about the craft of wildlife art firsthand. From technique and materials to career paths and the SAA’s mission, participating artists will be on hand for demonstrations and lively Q&A sessions. With even more locations and members involved, AAE 2026 promises to be bigger, better, and an even more meaningful celebration of art, animals, and public engagement.

Top Row: Lisa Nugent at Franklin Park Zoo, MA; Peter Elfman and Gunnar Tryggmo in Sweden.

Middle Row: Kim Diment & friend at ARK, MI: Deb LaFogg at Mote Marine, FL. Bottom Row: Anne Ranlett at Folsom City Zoo Sanctuary, CA; Scott Penegar at Brookgreen Gardens, SC.

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Get to Know Your Board of Directors Members

Ye l e n a L a m m To help our members connect more personally with the Society of Animal Artists leadership, we are inviting our Board Members to share a bit about their artistic paths and inspirations. These questions offer a glimpse into the experiences and influences that shape their work and strengthen our sense of community within the SAA.

There’s something about cows. If you think about it, what’s not to love about them? They are social and friendly.

Cow facial expressions are hilarious and wonderfully cute, they have beautiful eyelashes, the best hairdos, and the softest ears. Still, when I started painting animals, I had no idea they would become my most popular subject.

My journey as an animal artist started in 2018 when my cat, a 2-year-old Maine Coon named Rio, became sick (I should mention that Rio is still with me and doing well). I painted his portrait and thought of doing pet portraits to cover the cost of his treatment. The few commissions that followed came from friends who felt sorry for both my cat and me, and to this day I’m extremely grateful to them, because something amazing happened in the process. After a lifetime struggle to find my style and voice in art, I suddenly felt in my element and knew I was going to keep painting animals.

It felt right, like I was doing something true, something real — something I did not have to invent and could not fake.

Painting animals gave me purpose and, at the same time, helped me set my goals and eventually took me to the next level as a painter. So, after I painted all my friends’ pets and several portraits of

What subject matter or species do you feel most connected to, and why?

Rio, I turned to painting farm animals: goats, alpacas, pigs, and, of course, cows. MyFaith firstGrazing two cows Farmsold almost Oil On Panel immediately, and then a larger piece 18 x 32 in featuring four cows became an ARC finalist and was also sold right away.

Cows were commissioned, sold, and painted again and again. I never grew tired of their faces. On the contrary, when I’m tired, I feel the need to paint another cow. To this day, I think I’ve painted enough cows for a decent-sized dairy farm.

Not only are my cows my bestsellers, but they are also my most award-winning subjects, receiving two awards in the SAA 63rd Art & the Animal Exhibition, the OPA Most Original Award of

Excellence, the AWA Outstanding Achievement in Animals, the ARC Staff Awards, the Portrait Society of America Members Only Competition First Place in Animals as the Subject, and, recently, the AIS National Exhibition Elizabeth S. Daly Memorial Award.

I’m often asked if I live or grew up on a farm. No, I was born and raised in a huge city, and now I live in a not-so-big but still a city. But I paint cows, and my sons still call me Moo — a nickname they coined for me for no reason decades before I started painting these gentle giants.

Yelena Lamm is a P i t t s b u rg h - b a s e d oil painter, trained in Saint Petersburg, Russia. Since 1995, she lives in Pittsburgh, PA. She is known for her portraits of pets and animals, in which she reflects on her subjects’ characters and personalities.

She is represented by galleries in SC, PA, MD, and WA.

website: www.yelenalamm.com IG: yelena_lamm FB: Yelena Lamm Art Above: Faith Grazing Farm, oil on panel, 18 x 32

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Insights From Our Archives

Insights from Our Archives story by Wes Siegrist

Above left: Doug and Bea Allen at the Hiram Blauvelt Art Museum. Above right Doug Allen presenting the BBB Award to Leslie Delgyer.

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er my research, 123 people have served in some capacity to lead and direct the SAA since its founding in 1960. One remarkable individual went nonstop from 1971 until 2015, and he subsequently assisted with researching the history of SAA. A HUGE thank you to Doug Allen! Seven current Board Members have served between 10 and 34 years; will any of them beat Doug’s record?

• Did you know that Rosa Bonheur’s work was featured in the 1958 Animals in the Bronx Zoo exhibition, which initiated the formation of the SAA? • The rule that works submitted to our Annual Exhibition could not have been exhibited previously in another SAA show was added all the way back in 1982.

• The SAA membership was initially limited to the USA and Canada. They decided to go completely international in 1969. We currently have over 25 countries represented among our members.

Above: An inscription on a building at the Bronx Zoo, commemorating its construction by the New York Zoological Society in 1922.

At right (top): The Zoo Center at the Bronx Zoo. The building is considered an official landmark of New York City due to its architectural features.

At right (bottom): The Bronx Zoo 1958 Exhibition catalog listing exhibiting artists including Rosa Bonheur and Carl Rungius.

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Society of Animal Artists Masters

As of this publication, the SAA has 18 members, out of 1,274 current and former members, who have been awarded or earned the status of Master Signature Member by receiving at least 5 Awards of Excellence (Originally called Awards of Merit in 1979). The idea of creating a membership level to recognize SAA artists who repeatedly received our highest honor was adopted in 2008 after being proposed by Joe Vance, Jr. The following artists were grandfathered in after reviewing their award history. The date and numbers after their names reflect the year they received their 5th Award of Excellence, and their total number of AE Awards received to date. Charles Allmond, III (20026), Chris Bacon (1997-7), Gerald Balciar (2005-6), Robert Bateman (1991-9), Carl Brenders (1999-8), Carel P. Brest van Kempen (2006-9), Guy Coheleach (1985-8), Robert Kuhn (1992-6), Walter Matia (2001-

6), Leo E. Osbourne (1995-9), Kent Ullberg (1996-6), and Morten Solberg (2002-6).

These artists have subsequently earned Master status: Burt Brent (2009-5), Kim Diment (2025-5), Patricia Pepin (2018-5), Sue Westin (2015-5), Sherry Salari Sander (2009-6), and Rachelle Siegrist (2025-5).

Three Masters have passed away, and three others chose not to remain active with the Society. As of 2025, the SAA has 12 active Master Signature Members.

The 65th Annual Exhibition was only the second time in the Society’s history that more than one artist was bestowed the honor in the same year: Burt Brent and Sherry Salari Sander in 2009, and Kim Diment and Rachelle Siegrist in 2025. The SAA currently has 8 active and former members on the cusp of achievement with four awards each.

Clockwise from left: Future Masters Carel P. Brest van Kempen and Charles Allmond (standing from left); Bob Kuhn (seated).

Master Patricia Pepin receiving her 5th Award of Excellence in 2018.

Masters Rachelle Siegrist and Kim Diment receiving their 5th Award of Excellence in 2025.

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SAA Master Sisters

KIM DIMENT & RACHELLE SIEGRIST

Above: Rachelle and Kim celebrating their 5th Award of Excellence Medal. (Photo by Frank Soos). Above right (top): Rachelle and Kim on the farm. Above right (bottom): Sue Westin, Rachelle Siegrist, Kim Diment, Andrew Denman.

Kim

DIMENT

8th grade, with wins in painting, drawing and sculpture at Oscoda Junior High art competition.

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Kim has loved animals for as long as she can remember. Her mother would take her and her brother on nature walks around her home near the Au Sable River in Northern Michigan, and she would paint or draw with her on rainy days while her father, a woodshop teacher, would cut out silhouettes of animals in plywood to bring home for her to paint.

An impetus to pursue animals in art came from her second-grade teacher, Mrs. Ridgeway, who instilled knowledge of the local flora and fauna in her second-grade class. Kim spent time in the woods and

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became a hopeless tomboy, learning as much as she could about the wildlife that surrounded her and immersing herself in as many field guides as her allowance could afford.

In college, Kim studied Zoology and Fine Arts, graduating with a Bachelor of Fine Arts and a Bachelor of Science. During this time, she participated in the Michigan Duck Stamp and the Michigan United Conservation Clubs wildlife art competitions.

Following in her father’s footsteps and advice, she became certified as a high

school art teacher, which gave her freedom and an income to start traveling. She went to the Amazon, the Galapagos, Canada, out West, and Africa. From 1996 to 2000, she spent summers in Africa helping with Bornman Safaris. In 2000, she took a sabbatical from teaching and explored six South African countries.

Her career in wildlife art began with winning the Michigan Duck Stamp in 2001. She was in Africa when she received the news and recalls the greater honor of her parents accepting the award in her place. They had been behind her at every turn in her life and had earned it as much as she.

In 2002, Kim retired from teaching and became a full-time painter, focusing more on Northern Michigan wildlife. Later, she would help establish the Main Branch Gallery in her hometown of Grayling, featuring nature-inspired artwork.

Kim’s art benefited more from artist workshops than formal college training. She took several workshops with Robert Bateman and John Seerey-Lester, and was greatly influenced by Rod Lawrence, who became a close friend. Mort Solberg influenced her with his completely different style of painting.

In 2004, Kim attended a painting safari organized by Simon Combes, where she

Clockwise from upper left: In Africa; First field sketches from spring on the AuSable at 14 years old; Dallas 2008; At her home town art show in 2022 at Huron Shores Artisan Hall gallery in Oscoda, WI with her parents.

first learned about the Society of Animal Artists. Several years later, she was juried into the Art of the Animal Kingdom show, where she met Allen Blagden, who convinced her to submit to the Society. After several submissions, her persistence paid off with acceptance as an Associate Member.

Kim’s first time attending a Society of Animal Artists’ exhibition was in Parker, Colorado, where she felt like a deer in the headlights, among those she admired in the world of wildlife art. Here she met Rachelle Siegrist, never dreaming that 18 years later they would be honored as Master Signature Members together. For Kim, receiving such an honor amongst many of her best friends and her husband Carl was one of the happiest days of her life.

Kim Diment became an Associate Member of the Society of Animal Artists in 2007, was promoted to Signature Member in 2009, and to Distinguished Signature Member in 2023. She has participated in 17 of our Annual Exhibitions. She additionally received the Stanley Metzoff Memorial Award in 2007, the Hiram Blauvelt Purchase Award in 2013, and the Western Art Collector Editor’s Choice Award in 2016.

Kim was appointed to the SAA Board in 2013 and is a Vice-President and the Chairperson of the Society’s Education Committee. website: kimdiment.com ARC: www.artrenewal.org/artists/ kim-diment

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Rachelle

S I E G R I S T

Above from left to right: Rachelle as a child; Rachelle at a show in the 1990s; Rachelle with A True Cow Lick; top right: Rachelle at SEWE 2001.

Rachelle began coloring and drawing at an early age, spending time with crayons in hand, adding color to the countless pages of her prized coloring books, and to her variety of animals and other subjects she drew. She loved it when her mom would color with her, and made sure that she, too, colored inside the lines, just as she did, an early sign of her attention to detail and tendency to be a perfectionist.

She was happiest out in nature, whether climbing trees, swimming in the ocean, or playing with her chickens and dogs.

Even today, she struggles with the confinement of being indoors due to inclement weather or time at her easel. The excitement and inspiration in her career as an artist hinge on outside encounters.

Rachelle first became interested in wildlife art in 1989 while taking classes from her soon-to-be husband, Wes, after he

Rachelle with her tropical fish paintings.

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told her to focus on what she loves in her painting. Having grown up in South Florida, she loved saltwater fish and tropical birds, so it was an easy choice.

She focused on that subject matter for a few years before deciding to paint humorous portraiture in a Rockwellian style. This style brought smiles to many faces and served her well for years, but eventually she returned to her first love of wildlife as her subject matter to exhibit alongside her husband, Wes, in wildlife art shows. They both became enamored with miniature art in 1997 and devoted themselves to the genre starting in 2001.

It was at this time that she became interested in joining the Society of Animal Artists, after she and Wes had been told by their dear friend, SAA artist Janet N. Heaton, to submit to the prestigious organization. The encouragement to submit from both Janet and another close SAA artist friend, Richard Sloan, paid off, and Rachelle was accepted as a member the first year she applied to the SAA in the fall of 2000. She won her first Award of Excellence in 2005. When the SAA instituted the level of Master Signature Member in 2008, it fueled her inspiration and drive to win at least five of these awards and achieve the coveted status one day.

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That determination was rewarded when she received her fifth Award of Excellence at the 65th Annual Exhibition for her painting “Undersea Elegance” featuring a beautiful Sea Nettle. Even more special was the fact that her fifth award was bestowed on the subject matter that started her artistic journey decades before, the colorful residents of the ocean, and that she was recognized along with her cherished friend, Kim Diment.

Rachelle Siegrist became a Signature Member in 2000, was promoted to Distinguished Signature Member in 2017, and has participated in 20 of our Annual Exhibitions. She additionally received the Leonard J. Meiselman Memorial Award for Realistic Painting in 2005.

Rachelle was appointed to the SAA Board in 2018 and is the Secretary and Chairperson for the Society’s Hospitality Committee. She managed the SAA Blog during the latter years of its existence, and currently handles the SAA YouTube account, creating content highlighting the Society’s exhibitions. website: www.artofwildlife.com IG: rachellesiegrist Blog: underthemagnifier.wordpress. com

Kim

The Award of Excellence Paintings

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Top row: 2012 – Servitude, acrylic, 24 x 36; 2014 –Sun Downers, acrylic, 22 x 28; 2025 – Big Blue, Acrylic, 36 x 48 Bottom row: 2016 – The Drifters, acrylic, 30 x 60; 2013 – Fowl Play, acrylic 24 x 16

Rachelle

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From left to right: 2005 – The Zookeepers Assistant, watercolor on rag board, 4 x 3 ¼; 2019 –Stealthy Approach, watercolor on rag board, 5 ½ x 3 ½; 2018 – Uncomfortably Menacing, watercolor on rag board, 4 ½ x 2 ½; 2023 – Nature’s Incredible Water Filter, watercolor on rag board, 5 ½ x 3 ½; 2025 –Undersea Elegance, watercolor on rag board, 5.5 x 3.5

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Carel P. Brest van Kempen A Remarkable Achievement

Background material courtesy of Carel P. Brest van Kempen Carel P. Brest van Kempen grew up in Emigration Canyon, Utah. As a boy, he took up falconry and herpetology and later studied biology. It was not until he was approaching his thirtieth birthday that he decided to pursue an art career. It was then that he felt his skills had reached a point at which it was conceivable that he could be successful as an artist. Although Brest van Kempen studied perspective in a high school drawing class and had gotten pointers from other artists, he is otherwise self-taught. Once he decided to devote himself exclusively to painting, he gave up his falcons, his beloved dog, and reptiles and lived in his van for several years to paint, often for up to 100 hours each week.

Brest van Kempen’s meticulously executed paintings explore the rich variety of nature. He believes that chief among nature’s hallmarks is its diversity, and he complains that as a whole, wildlife art is a poor reflection of that diversity. “I’m trying to do my little part to help fix that,” he laughs.

Art is a secondary passion only to Brest van Kempen’s fascination with ecology, and he sees himself as a visual storyteller. “As I explore the planet’s ecology, it conjures a flow of scenarios and stories in my imagination. My paintings are a means for me to At left: Out of Their Depth–Greater & Lesser Flamingos acrylic, 18 x 24

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Above: Shifting Perspectives–Rock Pigeons acrylic, 22 x 30; below right: President Reneé Bemis and Executive Director Wes Siegrist presenting the SAA’s Lifetime Achievement Award to Carel P. Brest Van Kempen.

realize these narratives and to work out their details. I try to say as much as I can about how the particular subject lives and interacts with its environment and other organisms.”

His ability to do so with authenticity is the result of intense field research.

Brest van Kempen spends as much time in the field as possible, studying the habitats of his subjects. Often, conditions are far from ideal, but his sense of adventure outweighs any difficulties.

Wausau, WI, and The World Center for Birds of Prey in Boise, Idaho.

He has illustrated many books, and Rigor Vitae: Life Unyielding: The Art of Carel Pieter Brest Van Kempen, published in 2006, written by Carel, is a treasure trove of his artwork.

Carel P. Brest van Kempen became a member of SAA in 1994 and achieved Distinguished Signature status in 2008. He became a Master Signature Member in 2010. He has participated in 30 SAA Annual Exhibitions and received 13 SAA awards, including 9 Awards of Excellence.

Brest van Kempen’s work can also be found in several permanent collections, including The Springville Art Museum in Utah, The Leigh Yawkey Woodson Art Museum in dec embe r 2 02 5 C A T A S U S 18

“It was an honor and privilege for the SAA’s Board of Directors to bestow upon him the Society’s Lifetime Achievement Award.”

–Wes Siegrist

website: www.cpbrestvankempen.com IG: https://www.instagram.com/ hydrocorax/

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Biophilia II, Acrylic, 24 x 18

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“A Vision of Nature: American Women Artists” 2025-2026 story by Kelly Leahy Radding

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had the immense pleasure of taking a private tour of “A Vision of Nature: American Women Artists” at the National Sporting Library & Museum in Middleburg, Virginia.

I was unable to attend the opening reception because I was out west preparing to participate in our SAA annual opening weekend in Idaho Falls.

Upon my return home to Connecticut, I turned around and drove to Middleburg to deliver paintings to a new gallery, I hoped to view the exhibit, but unfortunately, the museum was closed that day.

To my delight, my gallerist had arranged for me to meet Claudia Pfeiffer, Deputy Director and Head Curator, to view the America Women Artists (AWA) exhibit.

Claudia not only walked me through the AWA exhibit, but she also provided a private tour of the museum’s permanent collection. She shared insights and history about the artwork, the artists, the artistic styles of the times, and fascinating tidbits and stories that I would never have learned from the wall placards or a catalog. Her generosity with her time and knowledge made my experience truly special, allowing me to connect deeply with the museum and its permanent collection.

The installation of the AWA exhibit is absolutely perfect, and I encourage anyone, whether near or far, to visit Middleburg to view “A Vision of Nature: American Women Artists” and

the museum’s permanent collection.

The exhibit will run until March 22, 2026.

The following members of the SAA have been juried into “A Vision of Nature: American Women Artists”. Kimberly Beck, Mary Cornish, Kathleen E. Dunn, Cynthie Fisher, Lisa Gleim, Laney, Sally Maxwell, Kelly Leahy Radding, Suzy Seery-Lester, and Carol Lee Thompson.

Our members were among 55 selected from 531 entries. This exhibit is AWA’s ninth museum exhibition as part of the 25 in 25 campaign, an initiative to have 25 museum shows for its members over 25 years. The exhibition runs from October 3, 2025 through March 22, 2026. The AWA annually awards over $30,000.00 in cash and merchandise awards.

Row 1: Lisa Gleim Outstanding Achievement in Animal Art The Grey Guardian: King of the Plains Pastel, 30 x 26 Sally Maxwell Christine Graefe Drewyer Award of Distinction Rapid Reversal Scratchboard, 11 x 14 Row 2: Suzie Seerey-Lester Muenzenmayer Fund Award of Excellence in Acrylic First Flight of the Day Acrylic, 18 x 36 Diana Reuter-Twining Western Art & Architecture Magazine Award Celtic Rabbits Sculpture, 24 x 24 x 1 Row 3: Kimberly Beck Outstanding Achievement in Oil Painting Jenny and Tom Oil, 30 x 30

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Cynthie Fisher The Zimmerman Family Award The Three Amigos Oil, 40 x 30

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“Of Mark And Meaning: American Women Artists” 2026 story by Diane D. Mason Members of the Society of Animal Artists have been juried into the highly competitive show “Of Mark & Meaning: American Women Artists.” The exhibition will be held at the Customs House Museum & Cultural Center in Clarksville, Tennessee, and will run February 13–April 26, 2026.

Our SAA members were selected from an impressive 791 entries, with only 107 works chosen for this prestigious exhibition. This show also marks the tenth museum exhibition in

American Women Artists’ 25 in 25 initiative, a long-term campaign dedicated to increasing the historically low representation of women artists in museum exhibitions and permanent collections by presenting 25 museum shows in 25 years.

We extend our congratulations to the SAA artists accepted into this exhibition: Lisa Gleim, Kim Kori, Yelena Lamb, Diane D. Mason, Sally Maxwell, Diana McClaren, Elizabeth Pollie, Diana Reuter-Twining, and Lorraine Watry.

Elizabeth Pollie, The End of Her Rope, Oil on canvas, 18 x18 Art and the Animal -65th Annual Members Exhibition, winner of Southwest Art Magazine Editor’s Choice Award

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The Benefits of Mentorship

story by Diane D. Mason

Early in my “career” as a sculptor, I was fortunate to be mentored by two sculptors from whom I had taken workshops… and truly admired. One of them was David Turner. The other was Walt Horton.

David was the one who, while staying with us during yet another workshop here in Loveland, looked at the work I had produced since my last workshop with him and suggested that I apply to the Society of Animal Artists. I had never heard of this organization, but when he told me about it and the individuals who were members of long standing, such as Guy Coheleach and Robert Bateman, it became a goal to which I aspired. I investigated the application process, had my work professionally photographed, and submitted my application. To my amazement, I was accepted as a Signature member (there was no Associate status at that time).

It was also David who suggested I apply to the National Sculpture Society for their Annual Awards Exhibition. I did and got a piece accepted! In the meantime, Walt Horton was staying with us during another workshop at the now-defunct Loveland Academy of Fine Arts and, after looking at my chicken sculptures, suggested that I do a piece with a chicken and a pig and title it “Ham’n’ Eggs”. He was always emphasizing the importance of “concept, concept, concept”. I came up with a composition of a hen sitting on the back of a happy pig, which was also lying down. It was to become my most successful sculpture to date, selling out an edition of 99.

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These suggestions from people I admired set the stage for the past twenty-five years as part of the sculpture community, for my participation in the Society of Animal Artists, and for an introduction to a gallery that still represents me. I had the benefit of learning from many wonderful sculptors during various workshops, but it was those suggestions given freely by those who truly wanted to help me advance that I cherish the most.

I “ have benefited from serving as a mentor to others in so many ways, and it has enriched my life in ways I could never have predicted. ” Since then, it has been my privilege to serve as a mentor to others who wish to experience the journey that I’ve been on for the past two decades. It isn’t because I’m being paid for my expertise and advice, but because I genuinely enjoy seeing others who show the necessary dedication and passion for sculpture succeed. It doesn’t take much, just a suggestion on how to create a specific type of texture, introducing them to the right people in the foundry business, or sharing catalogs from professional exhibitions and providing information about certain professional groups they might

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want to join. When they ask for critique, I try to offer it by finding positive aspects of their sculptures while also gently suggesting ways to improve in their next creation. For instance, one of the people I mentored had sculpted an American goldfinch on a sunflower. The bird was looking down into the flower rather than connecting with the viewer. I suggested that it is always best if a viewer can see an animal’s face and eyes to ‘connect’ with the subject.

I try to pass along Walt Horton’s advice on ‘concept, concept, concept’ as I’ve learned that when I sculpt an animal without a good concept behind it, it will not be popular with buyers. If I can save someone from making some of the same mistakes I made along the way, I will do it! I don’t see my fellow sculptors as competition.

Instead, I love to see them develop their own styles and pursue their own journey in the art world, and have them as friends. I have benefited from serving as a mentor to others in so many ways, and it has enriched my life in ways I could never have predicted. If someone comes to you for a bit of advice or wants you to comment on their work, consider it a compliment!

They like your work and would like to emulate your success with your particular art medium. Please take a moment and give them a pointer or two when you can. You will benefit more than they do.

Diane Mason is a former SAA board president and served on the SAA Board of Directors for over 20 years.

Top row: Dianne Munkittrick Dressed for Success Paper sculpture, 16 x 20 The Patricia Allen Bott Award for Creative Excellence (Painting or Sculpture)

Agnieszka Elliott Out On a Limb Oil on Belgian linen, 44 x 30 SAA Newcomer Award

Center row: Janice Bogy Waiting in the Shadows Scratchboard, 24 x 36 SAA Merit Award for Best Use of Light

Diane D. Mason Lady Gray Bronze, 9 x 8 x 8 Bottom row: Dan Burgette Joy Carving - Mountain Mahogany 18 x 30 x 6 The Evelyn and Peter Haller Memorial Award For Sculpture

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Copyright - A Cautionary Tale

story by Jennifer L. Cook

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enerative AI and its misuse of artists’ work may dominate today’s headlines, but theft of creative content is nothing new. Long before algorithms scraped the internet, a simple right-click could steal an image.

I learned this the hard way: on June 2, 2021—less than 24 hours after launching my redesigned website—I discovered online ads selling my sculptures using my own images and descriptions. My watermarks had been clumsily erased, and dozens of scam sites were offering my work for a fraction of its actual price.

By the end of that year, more than 900 fraudulent ads featuring my photos had appeared across social media, alongside pirated content from many other artists.

Like many artists, I believed that because copyright is “automatic” once a work is in tangible form, additional steps weren’t necessary unless the work was destined for mass production. Legally, that’s true—but practically, it’s not.

Copyright protects original works of human authorship the moment they are fixed in a tangible medium, giving artists both economic rights (to profit from their work) and moral rights (to protect authorship and reputation). But in the United States, you must register your copyright before you can pursue legal action for infringement.

Registration is not expensive (typically $89 per work), but for artists with many pieces, it adds up. The online portal can seem intimidating, but you do not need a lawyer, and once submitted, protection is retroactive to the filing date—even though processing can take months.

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Whether or not you pursue registration, you can—and should—monitor your work online. Start by looking: • Google Images • TinEye • Bing Visual Search Pinterest is also a surprisingly strong visual search tool, and it offers a content-claiming portal that lets you manage or block your work on the platform.

If all you see are legitimate galleries and articles, great. But the reality is that the internet’s “like, share, repost” culture makes infringement likely.

Guardian f the Gates, bronze, 18 x18

Fakes out of India, currently sold online

Sculptors should know that the sculpture and the photograph of the sculpture are considered separate works and may each need protection. Registration establishes a legal record, unlocks the ability to sue, and significantly increases potential damages. And because artists frequently provide high-resolution, unwatermarked images for juried shows, galleries, and press, registration is often the only realistic safeguard.

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When your work is stolen, you have a tool: the DMCA takedown notice.

A DMCA notice (Digital Millenium Copyright Act) is an action you can take where you notify the platform (and the infringer) of your copyright and demand that your content be removed. Only the copyright owner (or their legal representative) may issue one, and specific information is required. The notice goes to both the platform and the infringer, so I recommend using a dedicated email address for copyright enforcement—especially if the infringer may be operating at scale.

Most platforms remove infringing content when notified, though the biggest social media companies are often the least responsive. Despite reporting fake ads within hours of discovery, some fraudulent posts featuring my sculptures remain on Facebook four years later. I am now the lead plaintiff in a proposed class-action lawsuit against Meta. For large e-commerce platforms like Alibaba,

USEFUL LINKS FOR MORE INFORMATION • What is Copyright?

Copyright.gov/US Copyright Office • Register Your Work: Registration Portal Copyright.gov/US Copyright Office

Screenshots of fake Facebook ads.

• Why Register When Protection Is Automatic Copyright Alliance Fake website that ran ads on Facebook. All images are pirated from the original artists, including my own.

• Pinterest Content Claiming Portal Pinterest • Digital Millennium Copyright Act Wickipedia • Notice of Copyright Infringement: Request for Removal of Infringing Material PDF Form

another artist’s work being misused, tell them. If you find your own work stolen, don’t panic—but do respond.

AI for good: I ran the image that had been uploaded to the Society of Animal Artists website through a Google Images search.

The results confirmed that the artwork’s information is circulating accurately and being properly attributed.”

Amazon, and Walmart, paid services such as KOPPA.ai and RedPoints are far more effective at locating infringing listings and issuing mass takedowns.

Ironically, AI has also become a helpful

I don’t yet have a happy ending to share.

What I do have is my experience, and I offer it both as a warning and as encouragement to fellow artists navigating the same risks.

tool in this fight. Reverse-image searches increasingly identify me as the artist, and emerging content-claiming systems offer promising long-term solutions. But for now, vigilance is essential. If you see dec em ber 20 25

Jennifer L. Cook, (JL Cook)

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techniques & inspiration

Wild ABC’s: Learn, Color, Discover!

Introducing Wild ABC’s, the Society of Animal Artists’ New Educational Coloring Books

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story by Reneé Bemis

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ver!by o c s i D olorfu,n facts—illustrtas.ted C , n r a s: Lgeanimals and lecaiertny of Animal Artis C B A d Wilto Z, meet amazainl artists of the So

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ages 3-6

Wild A BCs: L From A to Z earn, , meet C a

olor,

e asked—and you answered! Thank you to all of our artists who volunteered to create coloring pages for our books. What began as a plan for a single book quickly grew. As the pages came in, we realized they spanned a range of age groups—so we expanded to two books. Then we noticed that some artwork was best suited for a vertical format and some for a horizontal one. And that is how 26

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we ended up with four unique coloring books!

They turned out absolutely amazing, thanks to the editorial work of Kim Diment, Wes Siegrist, and Cynthie Fisher. But they would never have been completed without the phenomenal design skills and dedication of Kelly Leahy Radding. We are deeply grateful for everything Kelly contributes to the SAA—these

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m illustr ated b azing anim yw als an d the So orld-class anima le ciety o l ar t f Anim al Artis ideal fo r ages ts.

7+

books, our catalog, and even this edition of Catasus.

You’ll soon start seeing these coloring books in museum stores, zoo shops, and parks near you. Stay tuned—more books are on the way, and we would love to include “your” drawings in the next round!

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To order, click on each coloring book or use the links here: For Ages 3-6 Shark Coloring Book Vulture Coloring Book

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over! c s i D r, s— Colo d learn funf fact , n r Lea g animals amnal artists o BCs: in ni

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Wild ABCs: Lea rn,

For ages 7 and up Zebra Coloring Book Frog Coloring Book

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Color, Discover!

From A to Z, mee t amazin world-class anim g animals and learn fun facts—ill al artists of the So ustrated by ciety of Animal A rt ists. ideal for ages 7+

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Sketchcrawls in Sweden story by Måns Bergendal & Peter Elfman

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rawing and painting birds is a hobby that requires thousands of hours of practice, and you must enjoy birdwatching in almost any weather. We are a few selftaught enthusiasts who do it together.

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It started on March 8, 2013, when Peter Elfman and Måns Bergendal visited Gunnar Tryggmo in Viken and had a look at his new studio. After a house inspection and carrot soup, we took binoculars and painting supplies to Rönnen and sketched lapwings,

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curlews, pintail ducks and a whitetailed eagle. This made us hungry for more, despite our frozen fingers, and more was to come.

The next summer, the trio met up with Lars Fredholm and Hans Lars-

Above: A freezing cold winter day at Rönnen. (Photo by Peter Elfman) At left: Oystercatcher, by Måns Bergendal, watercolor

son for a painting session at Rönnen.

Johan Stenlund, Axel Thorenfeldt and Mattias Olsson joined up later, and we have been seen together in the field two or three times a year. Johan left us far too soon a few years ago.

It took us a few times to figure out which bird locations are best for sketch crawls. You need to be able to sit together, and the birds should not be too far away. The trips often go to the shallow bay Skälderviken and its flat islands Rönnen and Sandön, as

well as to woods and riverbanks in the southernmost corner of Sweden.

Bad weather rarely stops us, because painting in the field is a completely different thing than in the studio.

We work quickly and with portable

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equipment in freezing cold or humid heat. We look and paint, drink coffee and talk about birds and journeys. At the end of the session, we lay out the sketches on the ground and see what has become. It is a bit of fun with passers-by and their happy exclamations at this unexpected exhibition.

But in reality, we do not produce art but experience, knowledge and enjoyment. The encounter with the birds gives us fresh sketches, even if it’s not always the end result that counts but more the immediate experience.

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as controlled a result as we would indoors.

A sketchcrawl is primarily an educational way to socialize with like-minded people, but some sketches later surface as ideas for more finished paintings that appear in books and at exhibitions. It was extra festive in 2024, when the Woodson Art Museum in Wisconsin had chosen Gunnar as Master Wildlife Artist and Måns had won an Award of Excellence medal at the Society of Animal Artists Annual Exhibition.

Many years of sketching birds and nature had yielded an almost unreal

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result. We had discussed several times who would become the next master artist, like our compatriot Lars Jonsson in 1988, and this suddenly happened to one of us!

Above: Arctic tern

by Måns Bergendal At right :An oystercatcher sketched by Måns Bergendal.

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Clockwise from top left: Gunnar Tryggmo at Rönnen.

(Photo by Peter Elfman) An improvised art show finishing a sketchcrawl.

Photo by Måns Bergendal.

Lars Fredholm at Rönnen. (Photo by Peter Elfman) Måns Bergendal at Rönnen. (Photo by Peter Elfman) Eider drake by Lars Fredholm Hans Larsson at Rönnen. (Photo by Peter Elfman)

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Male bullfinch by Lars Fredholm.

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look and paint, “We drink coffee and talk about birds and journeys.

”

Top: Late summer sketching at Rönnen.

(Photo by Måns Bergendal) Above: Drawing, talking and drinking coffee at Rönnen.

(Photo by Peter Elfman) At left: Painting winter birds at Rönnen.

(Photo by Peter Elfman)

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Clockwise from top left: Reviewing some morning sketches at Rönnen. (Photo by Måns Bergendal) Sketchcrawl at Rönnen late summer 2025. (Photo by Peter Elfman) Mattias commenting one of Lars’ sketches during a sketchcrawl at Klingavalsan River (Photo by Måns Bergendal) Sketching ducks and black-winged stilts at Klingavalsan River. (Photo by Peter Elfman)

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“

But in reality, we do not produce art but experience, knowledge and enjoyment.

”

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Top: Peter’s corner. (Photo by Peter Elfman) Above left: Peter Elfman, Hans Larsson, and Lars Fredholm at Rönnen summer 2025.

(Photo by Måns Bergendal) Above right: A spring sketchcrawl at Klingavalsan River. (Photo by Peter Elfman)

Måns Bergendal was born in 1964 and lives in Röstånga, Sweden. He started drawing as a toddler and eventually picked up birdwatching on the shores of the Baltic sea. The ornithological magazine Vår Fågelvärld elected him as the ”Bird Painter of the Year” in 1993. He is now a signature member of the SAA and drawn to the arctic wildlife of Svalbard. website: mansbergendal.com IG: mansbergendal/

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Peter Elfman was born in 1966 and lives in Väggarp, Sweden. He is a birdwatcher, field sketcher, illustrator, wildlife artist and local field trip leader.

The ornithological magazine Vår Fågelvärld elected him as the ”Bird Painter of the Year” in 1993.

He is a signature member of the SAA and a frequent exhibitor at the “Birds in Art” exhibition at the Woodson Art Museum in Wausau, Wisconsin. website: elfmanart.weebly.com

Redbacked shrike by Lars Fredholm.

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Inspired by Africa story by Cynthie Fisher

“My first trip to Africa was in 1986, a college graduation present from my parents. I was over the moon; I had watched every single nature show about Africa over and over …”

–Cynthie

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M

y first trip to Africa was in 1986, a college graduation present from my parents.

I was over the moon; I had watched every single nature show about Africa over and over, my first steps onto the Serengeti felt like deja vu; I had imagined it so often. When it was time to return home I sat and cried, knowing that I just had to come back as soon as possible.

Since then, I’ve returned 25 times, so I guess you could say I really found my calling, my happy place. Needless to say, being a wildlife artist with a degree in zoology, I have spent tons of time watching the animals I had studied all my life, taking oodles of photos as we all would, and imagining the paintings I wanted to make 42

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when I returned home. Most of my career I worked in acrylics on board but felt the urge to try to graduate to oils, and so I have been learning more all the time in that medium.

I had so many sources of inspiration from all my trips, and I thought I would share my process for a rather intimidating subject, a depiction of the chaotic scene during the wil-

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debeest migration in Kenya as they cross the Mara River. When I was there, I sat spellbound on the riverbank, caught up in the cacophony and constant movement of hundreds of wildebeest and zebra as they struggled to cross from Tanzania to Kenya in search of greener pastures. Naturally, I couldn’t get just the right photo of such a spectacle. But that’s where being a wildlife

artist is such a privilege…I could use my references and my imagination to create a depiction of this event as I chose to portray it.

I started by perusing the hundreds of photos I had taken, choosing elements from some of them that would help me create the scene I wanted.

Here are a few of them

I used tracing paper to map out all the elements of the design, moving around the scraps of sketches, Trying out different scenarios .

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Photos 1, 2 &3 in initial lay-in with acrylic paint.

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Naturally I loved working with lots of zebras, one of my favorite subjects, so they figured large in my design. I primed a large 48 x 60 inch canvas with orange paint, trans44

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ferred my drawings, and started my initial lay-in with acrylics, which is how I start all my paintings. Acrylics go really fast for me, and establish a base value and color, which I use

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as a foundation for the next stage. I paint quickly, trying to maintain the excitement of the original idea with bright colors. After getting my composition established, I return to the

“I’ve returned 25 times, so I guess you could say I really found my calling, my happy place. ”

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beginning and go over everything in oils, which is when the real work begins. Whew. That was a LOT of stripes, yikes.

Photos 4 &5- Beginning to paint over everything in oils.

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Cynthie with a rhino friend.

And it doesn’t help that I paint flat on a big table… with this one, I had to place it on a crate and pick away at the edges. I ended up choosing quite a few animals from many different photos to incorporate into the painting, trying to capture some personalities and emotions with certain individuals, young zebras struggling in the water, old warrior wildebeest bulls trying to stay afloat, zebra family groups trying to stay together in the confusion.

I’ve never done such a complicated painting, with so many critters in it, yikes! But it captured the intensity and confusion I witnessed. Or it did… after my recent trip this past year, I have a whole new idea for a crossing painting. Let’s see if I have the strength. I hope to share other techniques in the future too, scratchboard, bronze, glass, mixed media; stay tuned!

Everything in wildlife artist Cynthie Fisher’s world revolves around her love and admiration for animals, which is aided by her college studies in zoology. She chooses to share this love via her vibrant colorful paintings, scratchboards and bronzes of species from all corners of the world, most of which she has traveled to, including 25 trips to Africa. Cynthie has been a professional artist for over 35 years, working in eight mediums to showcase her expertise in animal behavior and beauty.

Cynthie shows her work at the Sugarman Peterson gallery in Santa Fe and on her website. www.fisherart.com

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sketches & studies by our members

Diana Höhlig “I was fortunate enough to discover a nest belonging to a Rufous-tailed hummingbird on a trail in the Costa Rican cloud forest. I set up the spotting scope at a distance so as not to disturb the nesting hummingbird. It was a valuable opportunity to spend time in the field observing and sketching the little bird with watercolors.” www.wild-glance.com/en/

Laney, SAA “The title is Announcing Spring. In my planning sketch I had juniper branches in the background, but in the final art, I decided that there was already enough detail in the old stump and the wren would be more emphasized without that addition.

The point of the painting was to have this small little bird on his throne calling out in early spring. I don’t think there is a better bird than the wren to start off summer.” www.sunnybankstudio.com

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Linda Feltner, SAA “Four Raven young fledged in the canyon, displaying their exuberant enjoyment of life as they called with baby voices and practiced their aerial cavorting. Sadly, a power transformer claimed two of their lives. I reverently brought them into my studio for study. Although the color of the raven appears shiny black, a closer inspection in outdoor light reveals a color sheen on specific feather groups.

The open-wing study is not a painting of local color but rather a color map that notes parts of the bird that reflect a particular color.” www.lindafeltner.com

A glimpse inside the creative process, where preliminary lines reveal the insight, intention, and curiosity behind our members’ finished works. dec em ber 20 25

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Kim Diment

2025 Master Signature Member

Big Blue Acrylic on board, 36 x 48

Rachelle Siegrist

2025 Master Signature Member Undersea Elegance Watercolor on rag board, 5.5 x 3.5