Tag Archives: Werner Liepolt

[OPINION] Careful Review Needed Of Greens Farms Apartment Plan

Longtime Bridge Street resident Werner Liepolt has watched the Cribari Bridge debate closely.

In the other direction from his home, another story is unfolding. A proposal to demolish the one of the 2 office buildings at 55-57 Greens Farms Road — and replace it with a 250-unit apartment structure — 30 percent of them “affordable” under state statute — is working its way through town bodies.

The Conservation Commission will discuss the plan at a public hearing on Wednesday (September 16, 7 p.m., Town Hall auditorium and livestream).

Liepolt — a recognized consulting party for the Cribari Bridge project — wrote to 1st Selectman Kevin Christie, Representative Town Meeting members and other officials:

TC Greens Farms LLC has proposed demolishing the approximately 60,000-square foot office building at 57 Greens Farms Road and replacing it with a 250-unit multi-family residential building, with 30 percent of the units designated as affordable housing.

The reported development cost is approximately $100 million, and the proposal has now entered Westport’s municipal review process.

55 Greens Farms Road — the building closest to the street — would be demolished, and replaced with a new apartment structure.

This location is directly relevant to Cribari Bridge Project 158-214. Greens Farms Road is part of the residential corridor connecting I-95 exits 18 and 17 by way of Bridge Street, the Cribari Bridge and Riverside Avenue.

Traffic generated or redistributed at 55–57 Greens Farms Road therefore has the potential to affect the traffic baseline, route choices and cumulative conditions surrounding the bridge and the Bridge Street Historic District.

I am not suggesting that all traffic generated by 250 apartments should simply be treated as new traffic. A responsible analysis must compare the proposed residential use with the actual or reasonably anticipated occupancy and traffic generation of the office building being removed. Nor is this an objection to the affordable housing component of the proposal.

Bridge Street traffic. (Photo/Werner Liepolt)

However, a development of this magnitude on a road feeding the bridge corridor cannot reasonably be ignored while the Federal Highway Administration and Connecticut Department of Transportation prepare a revised Environmental Assessment. The traffic analysis should examine:

  • Existing and projected daily and peak-hour traffic from the property
  • The assumptions used for the office building being demolished
  • Anticipated distribution of residential traffic toward I-95 exits 17 and 18 and toward the Cribari Bridge
  • The interaction between this development and each bridge alternative under consideration
  • I-95 diversion and navigation-app routing through Greens Farms Road, Bridge Street and Riverside Avenue
  • Construction traffic, emergency access and pedestrian and bicycle safety
  • The combined effects of foreseeable development and changes in the bridge’s weight, geometry and accessibility to larger vehicles.

This is particularly important because altering the Cribari Bridge could itself change driver behavior and route selection. A development analysis that assumes the present bridge, and a bridge analysis that omits the proposed development, could leave the public with 2 incomplete studies and no examination of their combined consequences.

Those consequences could include additional congestion and cut-through traffic, changes in the volume and composition of vehicles, increased noise and air pollution, pedestrian and cyclist hazards, and effects on the residential character, setting and integrity of the National Register-listed Bridge Street Historic District.

Aerial view of 55-57 Greens Farms Road. The street is at the bottom. It feeds into Bridge Street and the Cribari Bridge (left, off the image).

These matters are relevant to the revised environmental review and, where historic properties may be affected, to the continuing Section 106 consultation.

I respectfully request that:

  1. This development proposal and this correspondence be entered into the Project 158-214 administrative and consultation records
  2. FHWA and CTDOT obtain and review the developer’s traffic-impact study and underlying assumptions
  3. The revised Environmental Assessment disclose whether and how this development is incorporated into its traffic baseline and indirect and cumulative-effects analysis
  4. Connecticut State Historic Preservation Office consider whether resulting traffic conditions associated with the bridge alternatives could affect the character and setting of the Bridge Street Historic District
  5. Consulting parties receive a written response explaining how this new information will be addressed before the revised Environmental Assessment is completed.

No single agency should review only its isolated portion of these projects while overlooking the corridor-wide consequences created by their interaction. The public deserves a current, coordinated analysis before decisions become effectively irreversible.

(“06880” Opinion pages are open to all. Submissions may be sent to 06880blog@gmail.com. To support this hyperlocal blog with a tax-deductible contribution, please click here.)

Photo Challenge #610

As expected, last week’s Photo Challenge was tough.

Wendy Crowther’s image of a weather-beaten barn could have been a number of places around town. (Click here to see.)

But it can be seen on a walking path at a place some Westporters visit regularly, and others have never been to: Sherwood Island State Park.

Werner Liepolt explains: “It is an equipment barn on the shore of Sherwood Mill Pond, across the little road from the trailer park set for a Donald Sutherland movie based on a Stephen King short story filmed a couple of years ago.

“I know this portion of the barn because when dogs are allowed into Sherwood Island, Pip walks me by this barn every third walk. (He has 3 chosen routes. Go figure.)

“This is believed to have originated as the stable barn of the Sherwood family farm or estate; a nearby stone building reportedly served as the carriage barn.

“The Sherwoods settled on what was then called Fox Island in 1787. They operated a substantial 19th-century coastal farm, growing onions and potatoes for shipment to New York and running the gristmill at Sherwood Mill Pond. The barn is therefore an important surviving link between Sherwood Island’s agricultural past and its later public use.

“After the state made its first small purchase there in 1914 — the beginning of Connecticut’s state park system — it took a contentious 23-year struggle to secure sufficient land and public access in 1937.

“The old farm buildings were subsequently adapted for park maintenance, equipment storage and staff use. A former employee recalled working around the white barn in the 1960s and ’70s, and even living in it one summer.

“Unfortunately, Connecticut’s Department of Energy and Environmental Protection has classified the barn as structurally deficient and unusable for park operations. Its current restoration program lists demolition of the barn as ‘completed,’ and calls for construction of a new, simple metal vehicle-and-equipment storage building, originally estimated at $400,000.

“If the building in this recent photograph remains standing, DEEP’s notation may be premature, or this may be a surviving section of the larger historic service complex.”

Besides Werner, Jeanine Esposito and Joyce Evans correctly identified last week’s Photo Challenge.

This week’s is below. If you know where in Westport you’d see this, click “Comments” below.

(Photo/Nancy Breakstone)

(Every Sunday, “06880” hosts this Photo Challenge. We challenge you too to support your hyper-local blog. Please click here to make a tax-deductible contribution. Thank you!) 

Closet Yields Treasure Trove Of Photos

Werner Liepolt is a longtime Westporter. His family has done extensive research into an intriguing family story. Werner writes:

William Bell was a noted fashion photographer. His career began in the 1950s. It extended through the 1970s, when he began designing furniture, silk screening fabric and putting color onto everything he touched.

His daughter Bobbi Liepolt and I — both retired Westport teachers — inherited masses of photographs, slides and transparencies when Bill passed away. Organizing and archiving seemed desirable, but low on the list of priorities as our kids moved away and we began our retirement.

However, one thin box shifted our priorities. Bobbi and our son James found it in a closet. He noted that Bill had scrawled with a thick marker “IMPORTANT,” and opened it.

The photos.

In it we found a tranche of about 40 8×10 color transparencies. Bill had mentioned some of the subjects we found, but no one in our family had seen them.

The subjects range from super models (Suzy Parker, Dolores Hawkins, Sunny Harnett, Evelyn Tripp) to celebrities (Audrey Hepburn, Marilyn Monroe, David Niven.)

Marilyn Monroe, circa 1952 (Photo/William Bell, copyright Roberta Bell Liepolt 2025)

Bill’s extensive list of editorial and covers for Vogue and other Condé Nast publications have been featured in online archives and library publications.

Dodie Kazanjian chose 2 of his Vogue covers for her Met Gallery coffee table book, “Vogue: The Covers.”

Vogue cover, December 1, 1958 (Copyright Conde Nast photo by William Bell)

He was entrusted with several successful national advertising campaigns. Bill chose Westport for photographs in the witty, award-winning Dunbar furniture series.

Dunbar Furniture shoot at Kathleen Laycock School (now Greens Farms Academy) …

… and at Nyala Farm. (Photos/William Bell)

However, what Bobbi uncovered was work that had neither been printed nor published. Digitizing a few of the dozen reels of 16mm film that she always thought were shot during family reunions revealed Bill’s record of photo shoots and encounters with prominent figures from the New York fashion world — including her introduction to the teen aged Suzy Parker.

Still from 16mm film: Bobbie Bell, age 7, with Suzy Parker (Copyright WBELLC)

From the moment we began to review and digitize not only the film and  large format transparencies (eventually about 150), but also the medium format and 35mm slides numbering close to a thousand, Bobbi realized that her father’s legacy deserved to be freed from the boxes where it had lain hidden.

Though much archival work remains, Bobbi, I and Bill’s grandchildren have formed the William Bell Estate LLC. We created a website where a portion of the archive can now be seen, along with Bill’s biography, and material placing his work in the world of mid-century New York fashion photography.

For Bobbi, the project has become more than an effort to preserve her father’s photographs. It is a way of bringing back into view the warmth, wit, technical skill and sense of beauty that he brought to his work — and of sharing a part of photographic history that in some cases has not been seen for more than 70 years.

The archive is still revealing itself. Boxes remain to be opened; films to be digitized, viewed and stored; photos to be identified, and stories to be connected.

Bobbi and I hope that people who knew Bill, and remember the fashion world he photographed, recognize a face or place, or simply enjoy discovering the work of a gifted photographer, will visit the William Bell Studio website, look around, and perhaps help add another piece to the story.

(You never know what you’ll find in a closet — or on “06880.” We rely on reader support to tell all these stories. To make a tax-deductible contribution, please click here. Thank you!)

Online Art Gallery #331

As we do nearly every week, we again welcome new artists to our online gallery.

Whether you’re a regular visitor or first-timer — and whether you’re an accomplished artist or one just starting out: We want you.

This is your feature. No matter your age; the style or subject you choose — and whether you’re a first-timer or old-timer — we want your submissions. Watercolors, oils, charcoal, pen-and-ink, acrylics, mixed media, digital, lithographs, collages, macramé, jewelry, sculpture, decoupage, needlepoint — we want whatever you’ve got.

Just email a JPG to 06880blog@gmail.com. And please include the medium you’re working in.

“Free the Foot Bridge!” (Michael Tomashefsky — Available for purchase; click here)

“For Mom, Great pond, Falmouth, MA” — oil on canvas, 24 x 36 (Cathy Kim Walker)

“Mr Rodger’s Nantucket Vacation Home’s Backyard Boat” (Eric Bosch)

“Serene Takeoff” (Patricia McMahon — Available for purchase; click here)

“Woodside Avenue” (John Maloney)

Untitled (Cohl Katz)

“Floral Forest” — acrylic pouring with fine point illustrator accent pen (Dorothy Robertshaw — Available for purchase; click here)

“Cupcakes — Baked and Crocheted” (Rebecca Stein Richards)

Untitled — collage, white/black pen (Toby Michaels — Available for purchase; click here)

“Brinna” — silverpoint on prepared linen, 10 x 8 (Werner Liepolt)

Photographer Mike Hibbard says, “Path to our vacation cottage: Be on the lookout for Alligators and rabies infected Monkeys. Even worse, we are in a dead zone – no TV or cellphones!”

“Osprey Soaring Over Compo” — watercolor and pencil (Steve Stein)

“Server” (Lawrence Weisman)

(Entrance is free to our online art gallery –as it has been for 6 years. But please consider an anniversary donation! Just click here — and thank you!)

Online Art Gallery #328

There’s always something new in our online art gallery.

Today we welcome our youngest artist ever. Grace Yan — all of 6 years old — is a student at One River Art school. We hope to showcase her work until she’s, oh, up in her 80s, like our oldest artists.

And we want you to join in. No matter your age; the style or subject you choose — and whether you’re a first-timer or old-timer — we want your submissions. Watercolors, oils, charcoal, pen-and-ink, acrylics, mixed media, digital, lithographs, collages, macramé, jewelry, sculpture, decoupage, needlepoint — we want whatever you’ve got.

Just email a JPG to 06880blog@gmail.com. And please include the medium you’re working in.

Untitled (Jay Petrow)

Untitled (Michael Chait — Available for purchase; click here)

Untitled (Duane Cohen — Available for purchase; click here)

Untitled (Dorothy Robertshaw — Available for purchase; click here)

“Between Tide and Time” (Nancy Breakstone — Available for purchase; click here)

“Eric’s 7-Foot Tall emi-Kinetic Wooden Sculpture” — watercolor (Eric Bosch)

Untitled (Grace Yan — age 6, One River Art student)

“Roses Are Red” — crochet (Rebecca Stein Richards)

“Westport Library” (John Maloney)

Photographer Mike Hibbard says, “Don’t mess with a sleeping porcupine or you’ll get a face full of quills.”

“Home is the Sailor, Home From Sea and …” — watercolor and graphite (Steve Stein)

“Man With a Pearl Earring” — 12″ x 8″ silverpoint on prepared paper (Werner Liepolt)

Untitled (Martin Ripchick)

“Flu Shot” (Lawrence Weisman)

“Cheers to Another Sunset” (Ellen Wentworth)

(Entrance is free to our online art gallery –as it has been for 6 years. But please consider an anniversary donation! Just click here — and thank you!)

Online Art Gallery #327

Most weeks, our online gallery artists roam far and wide.

This week, many stick close to home.

Compo Beach, the Saugatuck River train bridge, Taylortown Salt Marsh — all are represented this week.

This gallery is like Forrest Gump’s chocolates. You never know what you’ll get. But the surprises are part of the fun.

And we want you to join in. No matter your age; the style or subject you choose — and whether you’re a first-timer or old-timer — we want your submissions. Watercolors, oils, charcoal, pen-and-ink, acrylics, mixed media, digital, lithographs, collages, macramé, jewelry, sculpture, decoupage, needlepoint — we want whatever you’ve got.

Just email a JPG to 06880blog@gmail.com. And please include the medium you’re working in.

“Composition” (Patricia McMahon — Available for purchase; click here)

“Compo Playground” (Amy Schneider)

“Rust Never Sleeps” — Saugatuck River train trestle (Jerry Kuyper)

“Taylortown Salt Marsh” (Michael Tomashefsky — Available for purchase; click here)

Untitled (Duane Cohen — Available for purchase; click here)

“Happy July 4th!” (Pam Kesselman)

Untitled (Lauri Weiser)

Photographer Mike Hibbard asks, “Who broke which of the Christian 10 Commandments to gather materials and the use them to build this house of God?”

“Xavier” — silverpoint on prepared paper, 11 x 8 (Werner Liepolt)

Untitled (Martin Ripchick)

“Mirror, Mirror on the Wall” — watercolor and graphite (Steve Stein)

Untitled (Lawrence Weisman)

(Entrance is free to our online art gallery –as it has been for 6 years. But please consider an anniversary donation! Just click here — and thank you!)

Online Art Gallery #317

Last week’s art gallery opened with a political statement.

This week it’s an environmental one.

Of course, art can be many things. As always, “06880” showcases it all. Our online artists’ community is broad, creative, and very, very talented.

Remember: No matter your age; the style or subject you choose — and whether you’re a first-timer or old-timer — we want your submissions. Watercolors, oils, charcoal, pen-and-ink, acrylics, mixed media, digital, lithographs, collages, macramé, jewelry, sculpture, decoupage, needlepoint — we want whatever you’ve got.

Just email a JPG to 06880blog@gmail.com. And please include the medium you’re working in.

“Earth is a Dumpster” (Amy Schneider)

“Beach Daze” (Duane Cohen — Available for purchase; click here)

“Send in the Clouds” (Patricia McMahon — Available for purchase; click here)

“Awakening III” — photograph (Rowene Weems — Available for purchase; click here)

“Light Play” (Jordan Kuyper, acrylic painting; Jerry Kuyper, photo)

“Spring Has Sprung” — jewelry — encaustic wax collage embellished with birch tree, bark and beautifully dried tree (Dorothy Robertshaw — Available for purchase; click here)

“The Hershil Island” — 11″ x 14″ oil pastel (Angelina Wu)

“This and That” — collage (June Rose Whittaker — Available for purchase; click here)

“Swimming” (Tom Doran — Available for purchase; click here)

Untitled — watercolor (Lucy Johnson)

“The Owl” (James Shorten — age 9, One River Art student)

“Beautiful Mother and her Sweet Baby — Peace and Love!” (Mike Hibbard)

“Brinn” — 10″ x 7″ mixed media (Werner Liepolt)

“Taking a Break” (Lawrence Weisman)

“Zulu” (Martin Ripchick — Available for purchase; click here)

“Our Very Colorful Town” (Steve Stein)

(Entrance is free to our online art gallery –as it has been for 6 years. But please consider an anniversary donation! Just click here — and thank you!)

Online Art Gallery #314

We’ve got a record 19 pieces in this week’s online art gallery.

Many are for sale. Browse — enjoy — and buy!

And next week, you too can be part of next week’s exhibition. No matter your age; the style or subject you choose — and whether you’re a first-timer or old-timer — we welcome your submissions. Watercolors, oils, charcoal, pen-and-ink, acrylics, mixed media, digital, lithographs, collages, macramé, jewelry, sculpture, decoupage, needlepoint — we want whatever you’ve got.

Just email a JPG to 06880blog@gmail.com. And please include the medium you’re working in.

“Imagine” (Patricia McMahon — Available for purchase; click here)

“Pussy Willows” (Bonnie Connolly)

“In Bloom” (John Maloney)

“Lexi” — pencil on paper (Bill Fellah)

“We the People” — collage acrylic pouring (Dorothy Robertshaw; Available for purchase — click here)

“Dots” — pastels/gouache (Toby Michaels — Available for purchase; click here)

“Juicy Fruit” — watercolor (Lucy Johnson)

“Floating Serenade” — original signed mixed media on paper, 14 x 11 (J. Haffey Jr.; Available for purchase; click here)

Untitled (Tom Doran — Available for purchase; click here)

Untitled (Duane Cohen — Available for purchase; click here)

“Saugatuck Riverline” (Nancy Breakstone — Available for purchase; click here)

Untitled — watercolor on paper, 9 x 11 (Kathleen Burke — Available for purchase; click here)

“Rustic Cottage for Sale or Rent. Convenient Transportation to and from the City” (Mike Hibbard)

“Harvey” (Mark Yurkiw — Available for purchase; click here)

“Kemosabe” (Martin Ripchick — Available for purchase; click here)

“Rick” — graphite ink on tinted paper (Werner Liepolt)

“Great-Grandfather Bosch” — pencil sketch (Eric Bosch)

“Grief” (Lawrence Weisman)

“Have We Seen the Last Snowstorm of 2026?” — graphite pencil on blue paper (Steve Stein)

(Entrance is free to our online art gallery –as it has been for 6 years. But please consider an anniversary donation! Just click here — and thank you!)

[OPINION] Cribari Committee Must Insist On “Honest Process”

Werner Liepolt is a longtime Bridge Street resident. He writes:

On Thursday, 1st Selectman Kevin Christie announced a Cribari Bridge Advisory Committee.

That may sound reassuring.

But before anyone applauds, one question should be asked: Is this committee being formed to scrutinize the state’s process — or simply to give local cover to a decision already being pushed forward on an outdated record?

Because that is where things stand.

The state is moving toward a consequential decision on the future of the Cribari Bridge while relying on what it calls an “updated” Environmental Assessment that is, on close reading, still essentially the same document prepared in 2020.

First meeting of the Cribari Bridge Advisory Committee, in 2018. A new committee will soon be formed.

And Connecticut Department of Transportation officials say that kind of document has a shelf life of only 2 to 3 years.

So let’s stop pretending the issue is only what kind of bridge gets built.

The issue is whether Westport is being asked to accept a 2026 decision based on stale assumptions, stale analysis, and a process that no longer matches present reality.

I attended the first meeting of CTDOT’s Planning Advisory Committee in July 2018 as a federally recognized consulting party, because I live in the Bridge Street National Register Historic District.

At that meeting, CTDOT made the standard clear: Environmental Assessments do not last forever. After roughly 2 to three3 years, they must be revisited to account for changing conditions.

That was then.

At the March 19, 2026 public hearing, CTDOT presented a February 2026 version of the Environmental Assessment that appears to be little more than the 2020 document with a new date.

Cribari Bridge (Photo/Fred Cantor)

Yet the process rolls on:

  • Preferred alternative identified.
  • Public comment period underway.
  • Town leaders urged to engage.
  • Residents told their voices matter.

Fine. Then the first thing this new advisory committee should ask is obvious: Why is Westport being asked to react to a decision framework built on an expired study?

This matters because the bridge does not sit in some abstract engineering zone.

It sits in the Bridge Street Historic District, where setting, views, scale and patterns of neighborhood life are part of what is protected.

It also connects directly to Route 136 Scenic Highway, where preservation of visual character is not a sentimental talking point but part of the public purpose of the designation.

Start of the Route 136 Scenic Highway.

Since 2020, the surrounding conditions have plainly changed.

  • COVID transformed our demographic and altered our work habits.
  • Traffic patterns are different.
  • Navigation apps now push drivers through residential streets in real time.
  • Greens Farms Road already functions, at key hours, as a pressure valve for I-95 congestion.
  • Development in Saugatuck has intensified.

And nearby infrastructure changes raise entirely foreseeable questions about whether this corridor is being transformed, in practice, into something far more consequential than CTDOT’s analysis admits.

Residents do not need a consultant or an advisory committee to tell them that conditions have changed.

They live them.

What makes this even harder to defend is that the project’s own visual analysis appears partial. The review described in the current materials does not meaningfully capture winter visibility from elevated homes within the historic district, even though those views are part of the setting that gives the district its character.

The Bridge Street streetscape changes with the seasons.

So no, this is not just a procedural quibble.

It goes to the integrity of the entire decision-making process.

Because when a study is outdated, everything built on it becomes suspect: the alternatives analysis, the impact claims, the traffic assumptions, the mitigation discussion, and the town’s ability to say honestly that it has evaluated current conditions.

That is why the new advisory committee matters.

Not as a public-relations device.

Not as a way to calm people down.

Not as a stage on which local officials can appear engaged while the real framework remains untouched.

It matters only if it is willing to say, clearly and publicly, that Westport should not be boxed into commenting on a preferred option grounded in a stale Environmental Assessment.

Part of the state’s assessment of the Cribari Bridge.

Westport’s elected officials should be careful here.

A committee can be a tool for real scrutiny.

It can also be a way to absorb public anger while avoiding the central issue.

If this committee is serious, it should demand answers to a few basic questions immediately:

  • Why is a 2020 Environmental Assessment still serving as the foundation for a 2026 decision?
  • What exactly was reevaluated, and what was merely repackaged?
  • How were post-2020 traffic changes actually studied?
  • How were cumulative corridor impacts assessed?
  • Why should residents trust a process that appears to have updated the cover more than the analysis?

Those are not anti-bridge questions.

They are pro-accountability questions.

No one is asking for delay for delay’s sake.

What people are asking for is something much more modest and much more reasonable: that before Westport lends its name, its cooperation, or its political cover to this process, someone in authority insists that the underlying record reflect the world as it exists now — not as it looked 5 or 6 years ago.

The Cribari Bridge, in 2019. (Drone photo John Videler, for Videler Photography)

More than 1,600 people have signed a petition calling for federal oversight on the protection of Westport and the nation’s historic resources.

The March 19 hearing drew a packed room and a near unanimous, clear mandate.

The public has spoken with unusual clarity at the sole public hearing CTDOT has conducted on this project.

Now the question is whether this advisory committee will do anything more difficult than listen.

Because in the end, this is not just about what replaces the Cribari Bridge.

It is about whether Westport’s leaders will insist on an honest process — or help legitimize one that is already past its shelf life.

(“06880” Opinion pages are open to all. Email submissions to 06880blog@gmail.com. To support this hyper-local blog with a tax-deductible contribution, please click here.)

Online Art Gallery #313

Spring beckons, in today’s online art gallery.

As always, our artists — professional and amateur, young and old(er) — choose a variety of mediums to display their works.

As always too, we invite you to be part of next week’s exhibition. No matter your age; the style or subject you choose — and whether you’re a first-timer or old-timer — we welcome your submissions. Watercolors, oils, charcoal, pen-and-ink, acrylics, mixed media, digital, lithographs, collages, macramé, jewelry, sculpture, decoupage, needlepoint — we want whatever you’ve got.

Just email a JPG to 06880blog@gmail.com. And please include the medium you’re working in.

“You’ve Got Mail” — Saugatuck Shores (Patricia McMahon — Available for purchase; click here)

Watercolor is a Swim in the White of the Paper— Lajos Szalay (Duane Cohen; Available for purchase; click here)

“Travelift, Cove Marina” — Kathleen Burke (Available for purchase; click here)

“One Nyala Morning” (Nancy Breakstone — Available for purchase; click here)

“Bunny’s in Your Garden” — acrylic pastel on canvas (Dorothy Robertshaw; Available for purchase; click here)

“Zeke” — pencil on paper (Bill Fellah)

“My Largest Color Splash Yet” — acrylics poured on a wooden panel (Eric Bosch)

“Print Stripes” — collage and printmaking (Ben Crockett, age 7 — One River Art student)

Untitled — collage (June Rose Whittaker; Available for purchase; click here)

“Mother Nature’s Feather Art” (Mike Hibbard)

“Spring” (Martin Ripchick)

“Lovers” — watercolor inspired by Chagall (Steve Stein)

“Sam” — graphite on Bristol (Werner Liepolt)

“Fred” (Lawrence Weisman)

(Entrance is free to our online art gallery –as it has been for 6 years. But please consider an anniversary donation! Just click here — and thank you!)