Wednesday, December 11, 2013


Continuing to work on my Yuma material for the Centennial Celebration in April of next year. Today I did five new plates, some with the addition of "blood" splatter. Going to the kiln tomorrow.

Tuesday, November 12, 2013


After making the initial 3x3 design, I blow up the first painting, transfer and re-paint it, using the original photo as my guide. The final image is 6x6 inches on canvas board. This is it.

Friday, October 18, 2013

Tuesday, September 24, 2013


"Alice Eller, August 1913", 3 x 3 inches, acrylic on photopaper.

Friday, September 6, 2013


"what happened at the Y?" 5 x 2.5 inches, acrylic on photopaper.

Wednesday, August 28, 2013


"grandpa plays the popeye ge-tar", 3 x 3 inches, acrylic on photopaper.

I got an email from Gary A. Bibb who is putting together a mail art show of guitar themed work, to be shown at Buffalo Brothers Guitars, asking me if I wanted to participate. Of course my first thought went to an old picture of my grandpa and my cousin, Michael. The photo also included me and my brother, but I cropped us out to give it a tighter composition and a more intimate moment for my cousin.

I wish I could go to the Carlsbad guitar store and see the exhibit in person, but Gary is posting the images on the guitar art blog, so I hope you take a look.

I did two iterations, the first square one, which is staying in my collection, and then a second, even tighter, 6 x 4, which is going to Gary.

This is a 1962 ad for the Popeye Ge-Tar from Mattel. It was only $2 an equivalent of about $17 today.

Friday, August 23, 2013


"Billy, Harry and Sam, August 1913", 5 x 2.5 inches, acrylic on photopaper.

Tuesday, August 20, 2013


"mangio", 3 x 3 inches, acrylic on photopaper.

Inside this wrapper is my favorite lunch in Phoenix. It's one of Pane Bianco's delicious focaccia slices. To me it's a good old New York style Sicilian slice – yummy and nostalgic.

Wednesday, August 14, 2013


"why, nabisco, why?" 3.125 x 4.5 inches, acrylic on photopaper.

Since I was a young girl, I have always loved the plain cookies, chocolate was way too busy for me, and besides it got all gooey in my tea. (OK, I admit, I dunk). My favorites are no longer being made, and probably for the better, because I don't recall the ingredients and maybe now I don't want to know. One of those favorites was Nabisco's Royal Lunch milk crackers (I know, I know, it's not actually a cookie).

Do you have a favorite old cookie? 

Monday, August 12, 2013


"song and dance man", 3 x 3 inches, acrylic on photopaper.

William Rainer Yuma Prisoner 2111

This story makes me feel sad, it really shows the prejudice of the time and place, the first article doesn't even give William Rainer a name. Nor does it indicate if he got to see a doctor, or if anyone even cared about him from the carnival where he worked as a song and dance man. All we get to know in the end is that Mr. Eaton got to go out for a ride with his friends, and Mr. Rainer went to jail.
Early Friday morning, at Globe, Al Eaton, one of the proprietors of the Turf saloon, was shot near the right groin, by a negro belonging to the Dixie Carnival company.

A short time before the shooting the negro had been playing craps in the Turf, and quarreled with young Eaton over two-bits. After some words the negro left the saloon, and returning in a few minutes with a Winchester under his overcoat he advanced into the saloon demanding his money, and receiving no satisfaction, he uncovered his gun and pointed it toward the crowd, at the same time backing toward the door. The barkeeper covered the negro with a six-shooter, and Eaton got up from his seat, and coming to where the barkeeper stood took the six-shooter out of his hand and advanced toward the negro, talking to him and trying to persuade him to drop his gun. The negro continued to back out of the house until he reached the sidewalk, when he fired at Eaton, the shot taking effect as slated. Eaton was not stopped by the shot, but continued to advance upon the negro, and some say fired upon him. When in front of [the] Our House saloon the negro backed into the saloon, and Eaton fell to the sidewalk. Officers Andy Mayes and Bert Pratt were on the scene and arrested the negro immediately after the shooting.

There was a good deal of delay in getting doctors, but finally Drs. Wightman and Fox arrived and they had Eaton removed to his home. A cursory examination, made at the saloon, of the wound, showed that the ball missed the groin and lodged in the fleshy part of tho hip. Several persons who were present say that four or five shots were fired.
Source: Bisbee Daily Review, February 18, 1904
William Rainer, the negro who shot Al Eaton, had his examination last Saturday before Justice Carico, who held him in $1000 bonds to answer to the Grand Jury. Rainer will stay in jail until the June term of court. Mr. Eaton's recovery has been more rapid than his friends had reason to hope. He was taken out for a drive yesterday.
Source: Arizona Silver Belt, (Globe City, Pinal County, Ariz.) March 03, 1904

Friday, August 9, 2013


"forged and forgotten", 3 x 3 inches, acrylic on photopaper.

Frank R. Moore Yuma Prisoner 2502

A typical scam in the west during the early 1900s was the check forgery. A "customer" would go into the bank with a check from an out of town bank, usually claiming it was from New York, or somewhere back east,  and try to cash it. There are other false documents that the forger carries, to make the deal seem real. It is know that letters of introduction were often used to give credence to the forger. An unsuspecting cashier might give them the money, but in Moore's case the deal went bad. A seasoned clerk recognized that the documents looked suspicious and went to talk to the bank manager. He immediately ran out the back door and to the sheriffs office. They brought Moore into custody where he plead guilty to the charge as subsequently served 18 months in Yuma.

This week I spent some time with artist Christine Cassano working on a collaboration piece that will be shown in April 2014 at the Yuma Fine Arts Association. I had a lot of fun learning how she put together the mold form and how to embed the pieces that will go into the finished product. This piece will pull together elements that I have been working on with the Yuma prisoner series and will be shown during the Yuma centennial celebration along with all the individual portraits and plates.

Tuesday, July 16, 2013


"round and round", 3 x 3 inches, acrylic on photopaper.
Demand being insanely high, cottage industries began to appear; a hat-knitting guild appeared in England in 1424, along with many others across Europe. Once the common man knew how to knit, the obvious happened. We started knitting for ourselves. One of the first of the commonly available knitted products was the 'acorn hat', made of felted wool... That's right, it took us about five hundred years to make common 'everyday' knitting out of wool.
See more Knit one, purl two on flickr.

Thursday, July 11, 2013

Monday, July 8, 2013


"knit two together", 3 x 3 inches, acrylic on photopaper.

My favorite local knit shop, Jessica Knits and Crochets, has offered to show and sell my knitting related images in their Scottsdale store, so I am beginning a new series called Knit one, purl two.

Let me know what you think.

Wednesday, July 3, 2013


"shattered life", 3 x 3 inches, acrylic on photopaper.

Margarito Garcia Yuma Prisoner 2987

So, sometimes I can find a bunch of information, and sometimes none at all. For Margarito Garcia there was a scattering of unrelated material, only one thing pulled these together: glass. Before he was arrested and put in jail for burglary, he was stopped from breaking into Calisher's store on G Avenue and Ninth Street in Douglas, AZ.
J. Calisher, who owns a conducts a dry goods and men's furnishing goods store in Douglas, has been engaged in business for fifteen years.  He was born in Nevada in 1864 and there passed his boyhood. The family removed to Anaheim California where the father engaged in the mercantile business for twelve years. He then removed to Florence Arizona and continued in the same line of business for two years. He then went to Tombstone where he engaged in commercial pursuits for some years but subsequently returned to California and there lived retired until his death in 1897. He was survived by the mother until 1910.

Reared at home, after completing his schooling, J. Calisher engaged in business with his father until the latter's death. In 1901 he came to Douglas and established a dry goods store which is one of the foremost commercial enterprises in the community. It was the second store established in Douglas. Of recent years, Mr. Calisher has extended the scope of his activities by founding a clothing store here and has prospered.

Mr. Calisher was married in 1906 to Miss Mary Wood, who was born and reared in Kentucky, where her mother still resides and is the second in order of birth in a family of five children.
Source: J. Calisher, Arizona, The Youngest State, 1913

Getting back to the glass story. Garcia's attempt to rob Calisher's was made by cutting out a pane of glass in the front window in May of 1906. He was transferred from Yuma to Florence and then released in February of 1910. In November of the same year, he was arrested again, this time for attempted assault on a Mexican woman with a deadly weapon, a broken beer bottle. Lastly, the glass mirror in the original photo appears somewhat corroded.

Monday, July 1, 2013


"roy got ditched" 3 x 3 inches, acrylic on photo paper.

Broken Arm Last Sunday

Roy C. Dalton of this place received a broken arm last Sunday afternoon enroute from the scene of the tragic death of the members of the Strickland family about fourteen miles north of Amarillo, to that place. He was riding in a Ford car in company with several other gentlemen of Amarillo and on their way home, the car was run into a ditch and thrown over. All the occupants of the car were more or less bruised, but Roy was the only one to receive any broken bones. Mr. Dalton was enroute to Magdalena, N. M., where he has a ranch and on account of the accident he was forced to return to Lubbock and wait until his broken arm heals.
Source: The Lubbock Avalanche, July 10, 1919
This is the final in the broken arm series. I hope you enjoyed them.

Tuesday, June 25, 2013


"after the fourth" 3 x 3 inches, acrylic on photo paper.

Hit and Run

While returning to her home in Clint last night after the Fourth in El Paso, Miss Williams, daughter of Miles Williams of that village, was thrown from a buggy on the county road and sustained a fracture of the arm. The accident was caused by a collision with an automobile, which proceeded on its way. Miss Williams and her companion were thrown from the frailer vehicle, the young woman falling with great force to the ground. The injured arm was set this morning by Dr. R. L. Ramey.
Source: El Paso Herald, July 05, 1910

Monday, June 24, 2013


Today I wanted to experiment with painting right onto an old photo. It was difficult to do emotionally because it meant that it is no longer that photograph. Technically it was also challenging. It is kodak paper, so I thought it could stand being wet, but it curled as I was painting it, absorbing water a lot differently than the photo paper for the printer and it is less receptive to layering too.

One thing that I do when scanning and using old photos is also crop them in a certain way. Using the whole photo leaves you open to the eye of the photographer. Which in this case I quite like.

Sunday, June 23, 2013


"check your baggage?", 3 x 3 inches, acrylic on photopaper.

Charles Kelley Yuma Prisoner 1982

Charles Kelley, who while porter for the Hotel Weatherford, in February appropriated a valise belonging to one of the guests, entered a plea of guilty to the charge of burglary and was sentenced to eighteen months in the territorial prison.
Source: The Coconino Sun, Flagstaff, April 18, 1903
Kelley was also arrested for entering the rooms of the guests at the hotel and "purloining articles belonging to them".
When Arizona was just a territory and vigilantes ruled the dusty streets and trails, in rode John W. Weatherford to Flagstaff.  Having a grand vision for Flagstaff, Weatherford soon began to build what would become known as one of the finest hotels in the West. Opening on New Year’s Day, 1900, the luxurious hotel would attract such visitors as newspaper tycoon, William Randolph Hearst, former President Theodore Roosevelt, and Old West author, Zane Grey, and lawman, Wyatt Earp
Source: Legends of America
I wonder whose baggage Charles Kelley stole?

See all of the Prison Hill series on flickr.


"forks and knives", 3 x 3 inches, acrylic on photopaper. 

Harry Stanton Yuma Prisoner 1964

Charles Jones and Harry Stanton (pictured), who broke Into a Santa Fe freight car, in October last and appropriated a lot of cutlery, entered a plea of guilty to the charge of burglary and were sentenced to serve two years each, in the Yuma prison.
Source: The Coconino Sun, Flagstaff, April 18, 1903
See all of the Prison Hill series on flickr.

Friday, June 21, 2013


"expression: sinister", 3 x 3 inches, acrylic on photopaper.

William Kirk Yuma Prisoner 1965

William Kirk, who in November last assaulted a man with a revolver in a Williams saloon, plead guilty to a charge of assault with intent to commit murder, was sentenced to a term of five years in the territorial prison.
Source: The Coconino Sun, Flagstaff, April 18, 1903

Tuesday, June 11, 2013


As I research stories from turn of the twentieth century I am truly struck by the hardness of life, especially in the American West. This is one story that left me feeling especially forlorn.

"my wife was 1919" 3 x 3 inches, acrylic on photopaper.

When he was arrested Walter Trimble, a miner, had $47.90 in his pocket, the equivalent to about $1200 now.

Walter Trimble Yuma Prisoner 1920

He is actually prisoner number 1920. His number card was originally misapplied, as number 1919 was meant for his wife, Bertha Trimble. Both were arrested and charged with raping Bertha's then eleven year old daughter. But the case had some strange twists. Bertha is discharged after a law stating that unless you are the perpetrator in a rape case you cannot be accused of a crime. She supposedly was the accomplice. After an attempt by Judge Baker to apply for a change of venue, her retrial never happened and she was set free.

Lydia Sparks, the victim, claimed things so heinous that they could not even be printed in the local papers at the time. But Lydia did not come forward with her accusation until a year and a half after it happened. After she spent time with other relatives, friends and her natural father, never revealing her assault to anyone in the interim.

Because of Lydia's testimony Walter Trimble was sentenced to natural life in Yuma territorial prison in 1902, but soon after, his sister, Mrs. Hayes (some reports claim she was Bertha's sister) provided letters and affidavits to Governor Joseph H. Kibbey,  and Trimble was then pardoned unconditionally in 1905.

Another interesting thing about the case was that it allegedly happened in Duncan, AZ and was purported to have been attempted previously in Clifton, only to be stopped by two Mexicans. The Trimbles were supposedly driven from the mining camp at the time. The arrests were made in Cananea, Mexico when they fled the territory after the accusation. They were brought to a jail in Bisbee by an Arizona ranger, and tried in Solomonville.

The case stirred up a great deal of publicity. Firstly, because it was so revolting to have a mother listed as an accomplice to rape. Secondly, because of the nature of the crime, many people felt the only punishment should have been the gallows. Thirdly, an older sister claims she got married, at the age of thirteen, to escape the tortures of her step-father, Trimble. But there were several reports that she was a child prostitute and used her sister's case as a reasonable excuse for her own sad life. Others claimed she was forced into this life by her parents, who benefited from her earnings.

I couldn't help but think of "My Darling Clementine", and the miner forty-niner, who was in love with his darling daughter, who drowned, then he forgot her when he kissed her little sister.

Dreadful sorry is an understatement.

See all of the Prison Hill series on flickr.

Sunday, June 9, 2013


I will be at the Hilton Phoenix/Mesa with my series "Little Truths" paintings and catalogs. Stop by and visit with me in the Kiva Foyer during the Arizona Historic Preservation Conference on Thursday and Friday June 13 and 14 from 8 am to 5 pm, or come by for a free event on Saturday June 15, the 2013 Historic Homeowner's Expo, from 9 am to 1 pm. I'll be at the Arizona Preservation Foundation table. I hope to see you there.

Tuesday, June 4, 2013


"nabor pacheco's plate" photo lithography transfer on ceramic plate, glazed and fired, 7.75 inch round.

In the continuing series of Yuma prisoner paintings I have also been experimenting with some accompanying items. Today I picked up four plates that I left at Marjon's, for firing, about a week ago. I was very pleased with the results. This one came out the clearest. It took some trial and error to get the transfer to absorb at just the right consistency before removing the paper.

I plan on doing a companion plate for certain paintings. This one contains the prison record of Nabor Pacheco.

Friday, May 31, 2013


"i had a telescope case in my pocket" 3 x 3 inches, acrylic on photopaper.

George Bates Yuma Prisoner 1889

The Wellington Saloon was opened in 1902 by the McCoy family of Prescott, AZ. Just a few mornings after it opened, George Bates, a young man, made a grab at the faro table and ran out with $95. He was over taken by officers in Skull valley, 12 miles west of Prescott, and was brought back and held under a $500 bond. He was convicted of grand larceny, guilty of stealing $120 from the Wellington. He was brought to Yuma by sheriff John L. Munds, and deputy sheriff T. A. Miller, to be imprisoned at Yuma Territorial Prison for 18 months.

See all of the Prison Hill series on flickr.

Thursday, May 23, 2013


"mary elizabeth jane colter" this painting derived from original photo of Mary Colter courtesy of the Grand Canyon National Park Service. 2.5 x 4 inches, acrylic on photo paper.

Mary Elizabeth Jane Colter was an American architect who was hired by the Fred Harvey Company in 1910. She completed over twenty buildings for them basing her designs on local vernacular and made up legends.
In the 1920s, as a railhead and a crossroad, Winslow was a major Arizona town. The Santa Fe Railroad and the Fred Harvey Company (which operated restaurants and hotels for the railroad) gave architect Mary Colter the assignment to build a hotel for tourists who came West to see the Grand Canyon and visit neighboring Indian reservations. La Posada, which opened in 1930, was Colter's masterpiece. A Spanish-style hacienda with lodging for 70 and three restaurants.


Painting derived from original photograph. 2.5 x 4 inches, acrylic on photo paper.  

La Posada served as one of the finest hotels, with a guest list that included movie stars and presidents. By 1957, it closed its doors. The original furnishings, designed by Colter, were sold and the building was converted into an office space for the Santa Fe Railway.

When it was put on the National Trust for Historic Preservation's endangered list in the 1990s it came to the attention of Allan Affeldt. He, with his wife and a third partner, took on the enormous task of restoration and have brought La Posada back to its former grandeur.

See the whole collection of Little Truths, on flickr.

Tuesday, May 21, 2013


Painting derived from original photograph by Patricia Sahertian. 2.5 x 4 inches, acrylic on photo paper. 

Painting derived from original photograph by Patricia Sahertian. 2.5 x 4 inches, acrylic on photo paper. 

Standing amid tumbling adobe structures and reconstruction and restoration is Tucson's Barrio Viejo, the old neighborhood. Once called Barrio Libre because there was no policing of the area and it was free of legal restraints, this neighborhood represents a source of pride and shame in the history of Tucson.

I couldn't decide which portrait of Barrio Viejo I wanted to show, so I did both – crumbling and restored. Which do you prefer?

If you are interested in reading about the area, here are some resources:
Barrio Viejo, Barrio Nuevo by Dave Devine
University of Arizona Library: Tucson's Barrio Libre

"mission gifts" 2.5 x 4 inches, acrylic on photo paper.

"hauling adobes" 2.5 x 4 inches, acrylic on photo paper.

See the whole collection of Little Truths, on flickr.

Thursday, May 16, 2013


"unknown boy" 2.5 x 4 inches, acrylic on photo paper.

For the accompanying portrait to the Marist College I am using a created character in this Mexican boy to pose as one of the Marist College alumni.
Marist College, a grammar and junior high school was opened in Tucson, Arizona in 1914 by four Marist Brothers from the Mexican Province. Three of these brothers, viz., Gosbertus, Gregorius, and Louis Casimir, who were fleeing from Manzanillo, Mexico, where due to violent anti-clerical persecutions, the Marist schools were forced to close, arrived in San Francisco via a Chinese boat. Bishop Henry Granjon of Tucson invited these brothers to study English and the American system of education for a few months in Tucson in order to open a school in that city. A few days later Brother Henry Fumeaux from St. Joseph Academy in Brownsville, joined them.

The brothers took up residence at the cathedral parish rectory. There, Father Louis Duval, a French missionary, tended to the needs of the little Marist community. Father T. Connolly, the Pastor, tutored the brothers in the English language. He also arranged for the brothers to teach in the basement of Holy Family Church in the suburbs of Tucson. While the brothers were learning English the bishop proceeded with the construction of a three story, five classrooms and community residence building near the cathedral.

On November 2, 1914 the brothers started classes for four groups, from the first grade to the ninth grade. For the next eight years there was little change in the faculty or the enrollment. Brother Henry Fumeaux, who became director in 1922, hoped to increase the enrollment but found that the location of the school caused many parents to send their boys to other schools. To better the brothers' proficiency in English he sent them to Public Normal School in Flagstaff, Arizona. Despite efforts to attract new students Brother Henry found the parents would not send their children to the school.

Two years later Brother Eold, Provincial, visited the school and decided that the brothers should be withdrawn from this area and returned to Texas and to Mexico where the persecutions had subsided. That year Bishop Granjon died while visiting his native France. His successor, Most Rev. D. Georke, studied the situation of the brothers. In June 1924 he gave his blessing and farewell to the Marist community.
Source: Marist Archives & Special Collections


Painting derived from original photograph by Patricia Sahertian. 2.5 x 4 inches, acrylic on photo paper.

Heading south to Tucson for a look at old adobe construction, our first stop is right off the highway.
The Marist College is a landmark building in Tucson, Arizona and American Southwest. Its completion just three years after Arizona statehood (1912) represents the apex of mud adobe construction.  Adobe is found throughout the world in regions where climate and the availability of base materials blend in a vernacular tradition. This approach to building was utilized in pre-statehood Tucson and throughout Arizona Territory, and persisted until the influx of imported materials and lumber brought by the newly constructed railroad.
Source: Tucson Historic Preservation Foundation
"This remarkable building continues to be a beacon of Tucson potential," says Demion Clinco, president of the Tucson Historic Preservation Foundation.

Clinco says the building's Italianate and Spanish Colonial Revival style is impressive, and its location near the Tucson Convention Center is ideal for those who treasure what downtown Tucson has to offer.
Source: AZPM
What struck me the most about this building were the beautifully sculpted atlases framing the entrance. Unlike the building, which is blatantly showing its signs of erosion, these two telamon heroically hold up the second story balcony standing up against the elements.


"gaylord perry" this painting derived from original photo of Gaylord Perry courtesy of the Mesa Preservation Foundation and the Mesa Historical Museum. 2.5 x 4 inches, acrylic on photo paper.

You might not recognize this baseball player sitting in a tub filled with hot mineral water at Buckhorn Baths in Mesa, Arizona, but it's Gaylord Perry. A major league pitcher, who played with the Giants, Indians, Rangers, Padres, Yankees, Braves, Mariners and Royals from 1962 to 1983, Perry was known for driving batters crazy with his spitball.

Buckhorn Baths was known for its healing and restorative water and became a catalyst in connecting baseball and Arizona.
"The Sligers (Buckhorn Baths owners) provided a unique service to the community and they knew the role they would play in Mesa history and Cactus League history. She (Alice Sliger) had a great fondness for Giants players, the owner Horace Stoneham, and said her favorite player of all-time was Gaylord Perry. She didn't treat anyone like a celebrity, they were part of the family." Lisa Anderson, Mesa Historical Museum
Source: East Valley Tribune
Perry was a visitor to the baths along with a slew of other notoriety: Don Ameche, Joe DiMaggio, President Harry Truman’s sister, Mary Jane, and JFK, to name a few.



Painting derived from original photograph by Patricia Sahertian. 2.5 x 4 inches, acrylic on photo paper.

I am becoming fully immersed in Arizona history (pun intended). The landmark Buckhorn Baths, found on U.S. Route 89, was an oasis in the desert for tired travelers as well as a precursor to the area's spa culture with the healing powers of its hot spring. Built in 1939 after the owners, Ted and Alice Sliger, accidentally discovered a hot mineral spring while drilling their well. They decided to capitalize on this lucky find and created a series of cabins and a bathhouse with separate quarters for men and women, and hired a full staff of masseuses. Buckhorn Baths became a beacon for weary athletes, especially baseball's New York/San Francisco Giants.

Jacob and I paid it a visit last week to take some photos in the continuing series I am doing on Arizona's endangered buildings. It is quite a place. Although it's been closed for years, it looks like someone could just walk in and turn the lights on and you would step back in time. In place is the collection of "stuffed" animals, post card racks are on the counter, Arizona kitch adorns the interior, along with trophies and old furniture. Swinging doors allowed us to take a peak at the back of the building. Alleyways and water tanks abound. Free standing bathroom buildings, a series of low motel cabins and private courtyards are spread out over the grounds. It seems that someone maintains the space, because the pond is well kept and there was running water. There was no lack of things to photograph. As we walked around to the other side, we found the men's bathhouse. Its walls are badly peeling, its signs faded, its frosted glass window frames deteriorating.

What fascinated me most, was a peek inside the door to see the rows of numbered doors. To me they were immediately beautiful and bleak and imparted a real sense of loss, all empty and lonely and half opened.

You can read a good article about the fate of the Buckhorn Baths by Gary Nelson here.

Tuesday, May 7, 2013


Painting derived from original photograph by Patricia Sahertian. 2.5 x 4 inches, acrylic on photo paper.

When a history landmark gets destroyed by a storm the city rallies to restore it.

In this case it is the Diving Lady Sign of Mesa, AZ. Created as a beacon for weary travelers from the east coast, this sign's main purpose was to let people know you could come to the Starlight Motel, not only for a restful vacation, but you could use the swimming pool too.

"paul millet" this painting derived from original photo of Paul Millet courtesy of Deborah Nelson and the Mesa Preservation Foundation. 2.5 x 4 inches, acrylic on photo paper.

Paul Millet opened his neon sign company in Mesa in 1946.
Working from a design created by artist Stanley Russon, Millet fabricated a 78-foot spectacle and a masterpiece. Every night, since its installation in 1960, when the sun went down the neon pin-up beauty leaped from the pinnacle of the sign in a three-panel animated sequence into a splash of neon water below.
Source: Mesa Preservation Foundation
In 2010 a powerful storm blew through the valley and knocked down this iconic landmark. A fundraising campaign was started and the restoration began. A former student, Larry Graham, of the original neon artist, Paul Millet, was called in to do the work. In April of 2013, the sign was reinstalled in all its former glory.
Restoration work has cost about $120,000, most of which has already been donated by community members and in-kind services, Vic Linoff (president of the Mesa Preservation Foundation) said. Currently, the project still needs about $10,000 to be completely done.
Source: East Valley Tribune