Tag Archives: Werner Liepolt

Bridge Street Historic District: Homes, School, Span Connected A Community

Werner Liepolt is a longtime resident of Bridge Street, and a former Westport teacher. He writes:

As Westporters prepare for Thursday’s state Department of Transportation meeting about the Cribari Bridge (November 12, 7 p.m., Town Hall auditorium),
a look at the Bridge Street National Register Historic District can help clarify what’s at stake.

The National Register nomination shows how the bridge, houses, stone walls and a former school tell the story of a neighborhood that grew around the river
crossing.

That history can help residents assess CTDOT’s presentation, ask specific questions, and submit informed comments by November 27.

The original Bridge Street School. It later became Saugatuck Elementary; it is now The Saugatuck co-op housing.

Westport residents and the Representative Town Meetings’s Cribari Bridge Subcommittee still need clear information from CTDOT and the Federal Highway Administration about how the preferred alternative and other
feasible options could adversely affect the historic district.

The agencies should:

  • Identify the 10 properties and 1 dock that CTDOT indicated last April could be affected by right-of-way acquisition, including possible use of eminent domain.
  • Provide studies assessing potential changes in truck traffic, noise, vibration and diesel pollution.
  • Clarify whether the Area of Potential Effects has been revised to include the entire Bridge Street National Register Historic District.
  • Provide updated visual assessments that show views when trees are bare, and from higher ground.

With this information, residents and consulting parties could propose specific measures to avoid, minimize or mitigate adverse effects.

The Frederick Hotchkiss House dates to 1876.

Bridge Street tells a story larger than the history of its houses. Its winding roadway, low stone walls, former school and iron swing bridge record how Westport grew from separate settlements into a connected community.

Together, these features form a historic landscape whose significance rests on the relationships among its parts.

The Bridge Street Historic District nomination, prepared by architectural historians at the Public Archaeology Laboratory, describes approximately 22.46 acres extending from the western bank of the Saugatuck River east to Compo Road South, with a branch along southern Imperial Avenue.

It identifies 28 contributing buildings and 3 contributing structures, including the bridge. Its period of significance stretches from 1809 through 1945.

The district’s oldest building, the Delancy Allen House at 192 Compo Road South, predates Bridge Street itself. Built in 1809, it recalls a time when much of the land between Compo Road and the river belonged to the Allen family.

Delancy Allen House, Bridge Street

Before a local crossing existed, residents on the east side faced an inconvenient journey to reach Saugatuck’s businesses and railroad station. The
river connected Westport to maritime commerce, while also dividing its neighborhoods.

The nomination traces the neighborhood’s development to the Allen family’s donation of land for Bridge Street in 1869, and the establishment of a river crossing.

Those changes opened land for subdivision and residential construction. The present swing bridge followed in 1884, replacing the earlier crossing.

Bridge and neighborhood consequently developed as parts of the same story: the crossing made the residential district possible, and the district preserves evidence of the community that grew around it.

The Bridge Street Bridge once carried trolleys.

Today’s William F. Cribari Memorial Bridge remains the district’s most recognizable structure.

Its iron trusses frame the river crossing. and mark the transition between Saugatuck and Bridge Street. The nomination explains that substantial rehabilitation in the early 1990s changed the bridge’s structural system, leaving the historic trusses supporting their own weight above a newer platform.

Nevertheless, it identifies the bridge as a contributing resource and an integral
part of the neighborhood’s development. The bridge had already been individually listed in the National Register in 1987.

East of the crossing, the houses reveal successive generations of residential architecture.

The 1884 Rufus Wakeman House. 

Italianate, Queen Anne, Colonial Revival, Craftsman, and other styles give the district variety within a generally consistent domestic scale. Porches, projecting bays, decorative shingles, wood clapboards and traditional windows distinguish individual buildings.

Setbacks, vegetation, fences and retaining walls connect them into a recognizable streetscape.

The inventory also includes more modest 20th century residences.

The Anna E. Dolan House at 12 Bridge Street, built in 1932, contributes to the district alongside its 19-century neighbors. This range matters: the neighborhood records and preserves continuing development across generations.

The Anna Dolan House was built in 1932.

Some of its most significant features stand close to the ground. The nomination identifies the Bridge Street System of Stone Walls as a contributing structure in its own right.

Portions may date to the roadway’s layout around 1869; others reflect later replacement and repair.

Sections appearing original are identified in front of 12 and 20–24 Bridge Street, and along the south side of 192 Compo Road South. These walls help define the roadway’s historic edges. and the relationship between public passage and private property.

The former Saugatuck Elementary School at 35 Bridge Street adds another dimension. Its 1931 building represents the neighborhood’s educational and civic life, while its later conversion to Westport’s affordable housing illustrates continued use of a substantial community landmark.

Former Saugatuck Elementary School, now co-op housing. 

The nomination’s photographs also document the adjoining athletic fields open to the public, placing the school within its broader setting.

The historians found that the district retained integrity of location, design, setting, workmanship, materials, feeling and association.

Their assessment recognizes a coherent neighborhood whose historic character survives through both buildings and surroundings.

For Westport residents, that provides a practical way to understand what deserves attention when major infrastructure changes are proposed: the bridge, homes, walls, roadway, and setting belong to an interconnected place.

1886 Orlando Allen House.

Residents can use this nomination and its property inventory to support specific Section 106 comments by November 27, the extended deadline communicated by RTM subcommittee chair Melissa Levy.

In your comment, identify the historic feature, explain how the project could affect it, and request a specific measure to avoid, minimize or mitigate that effect — for example, protecting stone walls, monitoring construction vibration, or evaluating traffic-related changes to the district’s setting.

Ask that agreed protections be incorporated into the project’s Memorandum
of Agreement, with responsibility, timing, and follow-through clearly stated.

Email: James.Barrows@ct.gov; Copy: Mandy.Ranslow@ct.gov
Subject: Project 0158-0214 – Section 106 Mitigation Request – [your address]
Mail: ATTN: James Barrows, Connecticut Department of Transportation
2800 Berlin Turnpike, P.O. Box 317546, Newington, CT 06131-7546

Project documents and updates: https://portal.ct.gov/Cribari-Bridge

(“06880” has covered the Cribari Bridge controversy since we began in 2009. We’ll continue to do so — with reader support. Please click here to donate to your hyper-local blog. Thank you!)

Online Art Gallery #343

This year’s fall foliage is spectacular.

And so are some of the colors in the works shown in this week’s online art gallery.

In the photos — and paintings too.

That’s the whole idea of this feature: to showcase the many talents of our “06880” reader/artists.

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.

“Descending Bear Mountain After a Sunrise Summit” (Maggie Gomez)

“Big Sur” (Claire Bangser)

“Sunrise, Eloise Ray Park” (Michael Chait — Available for purchase; click here)

“The Moon and the Shepaug River” (Patricia McMahon — Available for purchase; click here)

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

“Autumn Leaves Join the Halloween Mask Festivities” (Jerry Kuyper)

“Unmoored Vestiges” (Nancy Breakstone — Available for purchase; click here)

“Greens Farms Train Station” (Eric Bosch)

“Democrat? Republican? Other? Let’s Treat Each Other with Respect!” (Mike Hibbard)

“Sam and the Monarch” — oil on linen, 24 x 20 (Werner Liepolt)

“Let There be Light” — watercolor (Steve Stein)

“A Street in Provence” (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 #340

As they do every week, familiar scenes, abstract ones, and everything in between greet visitors to our online art gallery.

As always, we hope they inspire, entertain and engage every guest.

This is, after all, your gallery. 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.

“The Remarkable Book Shop 1968” (Eric Bosch)

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

“Otis” — pencil on paper (Bill Fellah)

“Return of the Sun” — Playhouse Square — photograph (Jerry Kuyper)

“Encaustics” (June Rose Whittaker — Available for purchase; click here)

“August Awakening” (Dorothy Robertshaw — Available for purchase; click here)

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

“Blue Landscape” (Amy Schneider)

“5 Shells” — oil on panel, 10 x 10 (Werner Liepolt)

Photographer Mike Hibbard says, “This African Baobab tree was a seedling 2,500 years ago about the time the mammoth went extinct and StoneHenge was being built. The main trunk is hollow and there are openings to get in – a good place to get in out of the heat or rain, if you don’t mind sharing with snakes and stinging insects.”

“My Uncle Sam at the Rail at Hialeah” (Lawrence Weisman)

Untitled (Martin Ripchick)

“Everything is Just Peachy” — graphite and watercolor (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] Mr. Christie: Westport Needs A Plan

Werner Liepolt is a longtime Bridge Street resident, and a Section 106 consulting party for the Cribari Bridge project. He writes:

Last Sunday, the League of Women Voters brought District 9 residents together with our 4 Representative Town Meeting members

It was a welcome opportunity to talk about flooding, traffic, development and the Cribari Bridge.

The bridge discussion raised a question that reaches far beyond District 9: When will 1st Selectman Kevin Christie organize Westport’s participation in a project that could reshape Saugatuck for generations?

RTM member Nancy Kail had asked him for an update on the bridge, and the formation of an advisory committee. His September 27 response promised “more on the Cribari and Downtown committees soon.”

Residents need more than “soon.” We need a timetable, a public process, and a clear account of what the town intends to accomplish.

1st Selectman Kevin Christie (Photo/Dave Matlow)

That expectation follows Mr. Christie’s own statement. On April 9 he announced a Cribari Bridge Advisory Committee, saying, “Westport has a real stake in this project for our neighborhoods, our infrastructure, and our fiscal future.”

He said the committee would ground decisions in facts, incorporate community input, and identify solutions that work for Westport.

Four days later, at an appearance at the Westport Library, Governor Ned Lamont responded to RTM member Kristin Schneeman’s question about the bridge. He acknowledged residents’ concerns, and said he would bring Mr. Christie and the state transportation commissioner together to work toward a solution.

Those statements offered a promising beginning.

Nearly 6 months later, residents deserve to know what has followed: Has the committee been appointed? Have those discussions taken place? What work is underway, and when will the public participate?

Cribari Bridge. (Photo/Fred Cantor)

I live on Bridge Street, and have participated in the federal review as a Section 106 consulting party since 2017. The February 2026 Environmental Assessment identifies replacement on the existing alignment as the preferred alternative.

The federal Permitting Dashboard currently lists May 31, 2027 as the estimated completion date for environmental review and permitting. That date gives Westport a reason to act now.

The 1st Selectman’s office and the RTM should use the remaining time to assemble the evidence, document local concerns, and establish what the town wants the agencies to address.

The risk of delay is practical: The agencies’ review can advance while Westport’s concerns remain scattered among individual residents, departments and organizations.

A coordinated town submission would make those concerns explicit, and give residents a basis for checking whether they have been answered.

The 1st selectman is in a position to bring that work together. Residents deserve to know what discussions he has had with the state Department of Transportation and the Federal Highway Administration, what he has requested, and what commitments he has obtained.

If those discussions have occurred, he should report on them. If they have not, he should initiate them.

The questions requiring attention are substantial, but understandable. What traffic would each bridge alternative accommodate or attract? Could changes in capacity or clearance alter heavytruck routes? What would that mean for noise, vibration, air quality, and pedestrian safety? Whether truck traffic would increase—and by how much—deserves analysis.

The review should also account for commuter traffic, school buses, children walking or biking, and parent drop-offs, alongside foreseeable development.

The proposed 250 apartments at 55 Greens Farms Road, including 75 affordable units, make it particularly important to examine future travel needs. For residents who do not drive or have limited transportation options, these questions are especially consequential.

The town should hear directly from residents of The Saugatuck senior cooperative, and nearby Homes with Hope housing.

Each alternative, including its construction period, should be evaluated for safe access to shopping, medical care, work, buses and the railroad station.

Safety concerns in this neighborhood already have concrete examples. In 2022, a jury returned a verdict against the state in a case involving a teenager seriously injured after CTDOT inadequately removed a Bridge Street crosswalk. More recently, a police pursuit involved collisions on Bridge Street near Imperial Avenue.

Bridge Street traffic, headed to the Cribari Bridge. (Photo/Susan Garment)

These incidents underscore the need to examine crossings, intersections and pedestrian protection throughout the bridge’s approaches. Alongside traffic and safety, Westport needs clear answers about design flexibility, rehabilitation and replacement costs, service lives, construction disruption, emergency access, historic-district impacts, and ownership of the bridge and its approaches.

Mr. Christie, 3 actions would demonstrate leadership now.

First, announce the Cribari committee’s membership, mandate, and timetable. Give it clear responsibility for examining neighborhood impacts and bridge alternatives, with meaningful public participation. Convene a working session with residents, housing representatives, town staff and the Historic District Commission, and invite CTDOT and FHWA.

Second, designate a town coordinator to assemble transportation, housing, land-use, property, emergency-access and preservation information into a written submission to the agencies.

Third, publish the town’s questions and the agencies’ responses. Confirm whether a revised Environmental Assessment is planned, its anticipated publication date, and the opportunities for further public comment. Set dates for the working session and town submission so residents can follow progress.

The town cannot control every state or federal decision. However, its leadership can ensure that Westport’s concerns are documented, presented, and pursued.

Please give residents a public plan and dates for action. The opportunity to influence this review is too important to leave at “soon.”

(“06880” Opinion pages are open to all. Email submissions to 06880blog@gmail.com. To support this hyper-local blog, please click here. Thank you!)

[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!)