october 2012 art matters

“Keith” is one of the striking images on display in the exhibition “Peter Miraglia — Portraits,” showing at St. Joseph’s University art gallery from Oct. 1 through Nov. 2.

Friday, September 28, 2012www.montgomerynews.com

gallery happenings

Anastasia Alexandrin: "My Soul is Charcoal."

By Marc LondoThrough her innovative technique of crossing lines ofcharcoal, Anastasia Alexandrin is charting a fresh, new,course in the art world. A skilled draftsman, Anastasia iscombining a distinctly modern use of line with classicmodalities of contrast and tone. Her distinctive style setsthe stage for a visual collision that offers a soulful depar-ture from traditional expressions of European beauty."With each line I am creating a statement," she says."There is something very simple about a straight line. Todraw it over and over can be very meditative. It's a repeti-tion of simplicity through which a complexity of formscan emerge."

Eachinacia 2, circa 2011The result is a contemporary narrative of female empower-

ment infusedwith fragmentsof metaphoricalstructure thatprovide reflec-tions of newwave feminineidentity. "Thesubject ofwomen andmodern daystruggles are ahuge wellspring

for me," she says. "Partially because they keep movingand changing and I am a woman living in these times, sur-rounded by these circumstances as they are happening."

Spring Come Early, circa 2010Currently residing in Philadelphia, Anastasia credits livingin the Northeast with being a significant factor in herchoice of pallet. "I don't think I would be a black andwhite artist if I lived out west or in a warm climate," shesays. "I like the seasons and the ebbs and flows the citygoes through. There's a prolonged period of grey skies andcold weather that my creative side enjoys thoroughly."Alexandrin's artwork has appeared in solo exhibitions inNew York, Philadelphia and San Francisco, as well as ingroup exhibitions all over the United States. Her art is

housed in various museum collections including, TheWoodmere Art Museum, DiCarlo Gallery, and BrandywineWorkshop in Philadelphia.

Persepolis, circa 2011A native of the Ukraine, Anastasia fled the Soviet Unionwith her parents and brother when she was 5 years old.The family eventually settled in Allentown, Pennsylvania,where Anastasia attended Barnstone Studios, a nearbyacademy of drawing and design. "I was always an artisteven as a kid," she said. "My parents knew that if theygave me a piece of paper and pencils I was satisfied forhours." When she was a senior in High School, Anastasia

won the NationalScholastic Silveraward. She eventu-ally matriculated atthe PennsylvaniaAcademy of theFine Art (PAFA),where she servedas a teacher's assis-tant on her way toachieving herBachelors of FineArts degree.

Female identity artist discusses how geography has affected her pallet

Friday, September 28, 2012 www.montgomerynews.com

By Diane M. Fiske

Recently, during the summer, a little girl who looked to be 8

or 9 years old visited the period rooms on the second floor of the Philadelphia Museum of Art and asked her mother what happened to the inhabitants of the elaborate pink and green Lansdowne Room.

Her mother looked pleased and went into a short explanation of 18th century English mansions. Her daughter probably did not realize she had had her first lesson in architecture or interior design.

The period rooms in the Philadelphia Museum of Art are some of the finest in the country and include chances for visitors to peek into life from ancient China and the Middle East to an elaborate early 20th century New York drawing room where Eleanore Elkins lived after her husband died in the Titanic.

In the past few years, according to curator Donna Corbin, who specialized in Western European art, the period rooms have tight-ened their grip on history somewhat and have tried to make sure that the exhibits are divested of extraneous material if possible. Out of necessity, sometimes museum curators supplied a ceiling or a floor when the original was not available in the purchased room.

She said that since the le-gal decision that allowed the 1,200 works of the John G. Johnson Collection, which includes Italian and North-ern European Renaissance paintings, to be distributed through the museum, the rooms have changed some-what. Originally, the col-lection was confined in one area as Johnson’s will had

mandated. Now many of the works of art are displayed in the rooms that seem most appropriate for them.

Back to the Lansdowne Room — the young girl seemed transfixed by the mirrored pink and green room that was designed by Robert Adam, a Scot-tish architect who was very popular in the 18th century for neoclassical design.

Originally, the room was located on the ground

floor of a London man-sion designed for the third Earl of Bute. It was called the Organ Drawing Room because Lord Bute was the owner of a large mechani-cal organ. The house was sold, before it was finished, to Lord Shelburne and his wife. Adam continued working on the house.

American history came into the story here because Lord Shelburne served as Secretary of State for

England and participated in drawing up the Treaty of Paris granting independence to the United States. Lord Shelburne was named Earl of Lansd-owne as a reward for his service.

The room’s original furnish-ings do not survive today. It is known that Adam provided designs for a pier-glass and a semicircular

pier-table, circular picture frames and a carpet, the design for which is in the collection of a museum in London. He also designed the gilding and organized the arrangement of paint-ings. Intensive of research provided the background for museum curators to acquire the furnishings for the room.

In 1929, Lord Shelburne’s heirs sold the house when it was slated for demolition to make way for a new street. The room was acquired by the Philadelphia Museum of Art in 1931, when the front of the house, including the drawing room and the dining room, were sold to the New York Metropolitan Museum of Art.

Another period room in which the furnishings make the room complete is the 17th century Dutch room called “The Little Ship.”

The history of the Nether-lands room stems from the early 17th century, when it was located in the back of a house called Het Scheepje, or the Little Ship. It was part of a brewery compound

on the River Spaarne in Haarlem. Its owner was a member of the town council.

The room resembles the interiors shown by Dutch painters of the period and would have been used for both living and sleeping. The panelled wall contains a bed-alcove behind the red curtains. This arrangement was common in even the prosperous households of the day.

A fireplace, which fea-tures sandstone columns with figures of David and Judith, each holding the severed head of their van-quished foe, is the central focus of the room. The fireplace tiles show children at play, boats and birds.

Corbin said the rooms are

popular with visitors now, but they were the only way many people in the late 19th century, when the museum first opened in Fairmount Park, got a view of foreign countries before the advent of TV and the Internet.

The little girl seemed to have become fascinated with the Dutch room and asked her mother if she could peek behind the red curtain. There, she unfortu-nately ran into reality, and was told by her bemused mother about museum rules and the necessity of not touching displays.

— This is a monthly column about architecture, urban planning and design. Diane Fiske can be reached at dfiske_19118@yahoo.

Period rooms at PMA predate TV and the Internet

The Lansdowne Room in the Philadelphia Museum of Art

“The Little Ship Room” at PMA

MUSIC & FOOD

PERFORMING ARTS

HOT GLASS DEMOS

HIGH-QUALITY JURIEDARTISTS & CRAFTSMEN

October 20 + 21, 2012 | 10AM – 5PM

GoggleWorks Center for the Arts201 Washington St., Reading, PA 19610

610.374.4600 x104

Festival Sponsor: Penske

visit www.artsfestivalreading.org


By Adam Crugnale

Inspiration is found everywhere in nature. Snow-capped mountain-

tops, the gloom that settles over a forest at twilight; beauty is even found in the desolation and stunted growth of the trees that inhabit the bone-chilling tundra to the far north (think Greenland, Alaska, Russia).

For internationally re-nowned sculptor Winifred Lutz, this same inspiration fuels two phenomenal ex-hibits, “Between Perception and Definition” and “Once Was,” both of which are featured at the Abington Art Center, in Jenkintown.

The former, “Between,” is a galleried exhibit. Lutz pulled in objects from nature, found while working on outdoor sites — a slice of tree trunk and a bag of cement, for example — and fashioned them together using various paper tech-niques, often blending the paper with the object to such a degree that it’s difficult to tell where one begins and the other ends.

“What I love about Winifred’s work is that it’s all very organic in appearance,” said Laura Burnham, the execu-tive director at the center. “This particular exhibit is a survey work, an overview, if you will, of what her work is all about.”

For example, one of

the pieces, dubbed “Signs of Wear and Col-laboration” (2007), has a softball-size wasp nest still attached and intact. Another piece, made primarily of Belgian linen paper, main-tains various levels of den-sity. Lighted from behind,

light then pours through these differing levels of density, possibly reminding one of moonlight dancing on a lake top, or sunbeams that pour down through a canopy of leaves.

“Hers is the kind of work one may need to observe

quietly for a moment before it hits you. It’s very delicate work, and the lighting actu-ally plays a significant role in the exhibit. Many of the pieces are translucent in places. Winifred wants us to study them, to see how the light affects them, perhaps changing our perception of them entirely.”

“The Core and the Companion” (1987-1988) is a piece made up of two separate objects. The core is a cross-section of a giant log that actually has a pulley wheel, from a laundry line, grown into it. The compan-ion piece — made from flax paper — steals its profile from the missing section of the log, acting as a counter-weight and keeping them both upright.

This may serve as a gentle nudge toward the idea that

we all need something — or someone — in our lives to balance us out and keep us standing upright.

The latter exhibit, “Once Was,” goes hand in hand with the former. It takes the viewer from the comfort of the indoors to the natural world found just outside the door. “Once Was” also involved laborious amounts of digging, as the entire site needed to be unearthed from beneath 6 inches to almost a foot of soil.

The remains of this backbreaking work were left behind as part of the exhibit, in three giant mounds of dirt that appear to reach 6 feet in height.

“It’s almost like an archaeological dig,” com-mented Burnham, as we

began the mar-velous trek into the wild of the center’s historic grounds. “You re-ally have to take time to

study your surroundings or you may miss something,” she continued, nodding at a trail of dirt left purposely by the artist. The trail, at times narrowing to the width of a thumb, lies directly under the brushwood and follows the fallen branches that vein the stone walkways, all original and uncovered by Lutz for the exhibit.

“Once Was” will be main-tained until November, at which point the center will “let nature run its course,” as Burnham put it. “Percep-tion and Definition” will run through Nov. 25, with a $5 donation requested.

With shafts of light falling between the leaves overhead, the entire exhibit maintains a gloomy, gothic atmosphere — the same

ambience that we may find in the work of Edgar Allan Poe, one of America’s most well-known writers.

“She left parts of the area entirely untouched,” Burnham explained. “While uncovering a patch right next to it, giving the viewer an idea of how much nature may change a setting.” When left to their own devices, trees will uproot walkways and vines will form chaotic strangleholds over our carefully laid out plans.

On Thursday, Sept. 27, the center held a reception to celebrate the artist. Visi-tors met the curator (Janet Koplos) and toured the in-stallation at twilight, from 5 to 7 p.m. Two other terrific opportunities will present themselves on Oct. 13 and Nov. 10, with tours and book signings with the artist and curator, rain or shine.

Visit the center solo and maybe you’ll find that needed bit of balance. Or find balance with a date, or even a group of friends. However you experience it, this a tremendous exhibit by one of America’s premier sculpture artists.

Finding Balance at Abington Art CenterState of theArt

If You Go

“Between Perception and Definition”

will be on view throughNov. 25, at the

Abington Art Center, 515 Meetinghouse Road, Jenkintown, PA 19046.

“Once Was” will be on view until November at the same location.

Hours: Wednesday - Friday,

10 a.m. – 5 p.m., Thursdays,

10 a.m. - 7 p.m. & Saturdays & Sundays,

11 a.m. - 4 p.m. $5 donation requested. Info: 215-887-4882 or

www.abingtonartcenter.org.

Doors from “Once Was” by Winifred Lutz

Pool from “Once Was” by Winifred Lutz. Below left, Poolhouse by Winifred Lutz, in “Once Was.”

Friday, September 28, 2012 www.montgomerynews.com

Your resource for finding artists, soliciting entries, renting art studious and for promoting your service.For more information call 215-628-9300, ext. 226

CALL FORARTISTS!

GoggleWorks Center for theArts 2013 Juried Exhibition

Home: Interpreting theFamiliar

Grand Prize: solo show in the CohenGallery at GoggleWorks Center for

the Arts, the country’s largest, mostcomprehensive interactive arts center.Cash prizes for first, second & thirdplace. Open to all media. Each artistmay submit up to 3 works for $35.Juror: Genevieve Coutroubis, awardwinning photographer and Director,

The Center for Emerging Visual Artists,Philadelphia, PA.

Deadline: December 21, 2012.Exhibition: May 11 – June 23, 2013Prospectus: www.goggleworks.org/

Exhibitions/Call-for-Artists/.201 Washington St., Reading, PA, 19601,

610.374.4600

• • • CALL FOR ENTRIES • • •

Center for the Arts inSouthern New Jersey

CFA/SNJAnnual Open Photography Exhibit

November 5 - 26, 2012

CFA/SNJ “Family Traditions &Memories” Theme Exhibition

December 3 - 21, 2012

For prospectus to exhibit send SASE to:CFA/SNJ, 123 S. Elmwood Rd.,

Marlton, NJ 08053Telephone: 856-985-1009

Call for Entries2012 Juried Art Show

New Hope Art LeaguePrallsville Mills, Rt. 29, Stockton, NJ

Oct. 15 Entries due onlineSee NewHopeArtLeague.com

Up to $3000. in awardsShow dates: Nov. 12 - 26

l1am - 6pm dailyReception Nov. 16, 6 - 9pm

October 13 - October 27, 2012Croft Farm Arts Center

100 Bortons Mill Road Cherry Hill, NJ 08034

Fall Into the Arts Week includes multiple eventsdesigned to showcase the exhibit and drawvisitors. All work is for sale; no commissionapplies. Please contact us for submissioninformation.

CALL FOR ENTRIESAnnual Juried

Photography Exhibit

http://[email protected] or 856-488-7868

Cool Studio/Office Spacein Renovated Factory

In Reading, PARates starting at $300

610-236-0680www.readingartworks.com

Central Blue Bell CampusFine Arts Center Arts Gallery, North Hall

16 High Street, PottstownPlease contact Holly Cairns at:

[email protected] or call 215-619-7349

Call for ArtistsSubmissions for2013 & 2014 are

now being solicited

By Burton Wasserman

Across the centuries, the special area of human portraiture, whether historic or contemporary, continues to be a source of endless fascination for people attracted to art exhibitions.

Like a magnet attracting iron filings, the aesthetically expressive sight of a living face arouses and captures the interest and curiosity of spectators. With a boundless desire to explore beneath the outer surface, they seek to respond to the many levels of meaning invested in the artwork.

These several facts are abundantly evident in the current solo exhibition of “Portraits by Peter Mira-

glia,” on view this month of October in Philadelphia. The artist, who was born in 1953 in Glen Cove, N.Y., has his work installed in-side the St. Joseph’s University Art Gal-lery. It is located in Merion Hall at 376 Latches Lane, just off City Line Ave., Merion Station. (For further informa-tion about visiting the show, contact Jeanne Bracy at 610-660-1845 or [email protected].)

For the past sev-eral years, Miraglia has been exhibit-ing portraits made earlier on trips to Africa and India. Since returning to his home and studio in Philadelphia, he has resumed photo-graphing individuals living in the city. Residents of the region might recog-nize them as people they have encoun-tered at work, in church, on the street or when they go shopping for food or gasoline. Clearly, the focus is local and highly diversi-fied with respect to

age, gender, neighborhood, vocation and station in life.The eyes in the selection called “Keith” are quite far

apart from each other. They counterpoint the sienna-colored skin, braided dreadlocks and soft, rose-toned lips of a man staring straight-on at you. Caught in the vise-grip of his gaze, you feel a sense of iron will and unusual capacity for sustained concentration. Though the photograph undoubtedly details the features of its subject, you can’t help wondering how much it might also reveal such characteristics as the sincerity and resolve of the artist who made it.

Within the image titled “Elizabeth,” the face of a woman asserts her existence as a living presence. With absolute insistence, her appearance demands that you know she is not simply a meaningless envelope of re-

mains left behind haphazardly in the midst of some forgotten yesterdays. Instead, live here and now, vigor-ously involved with the challenges and the demands of her world.

The view of a young boy called “Wolfgang” is startling and direct. Unlike an advertising illustration, it isn’t trying to sell you something. Instead, it illumi-nates the innocence of childhood with unabashed grace and surprise. Neither pretense nor fan-tasy mar its open-eyed look of curiosity and puzzlement.

“Phaedra” is a close-up study of someone with nerve, muscle, tenderness and the patient strength to endure, no matter how difficult her circumstances might be. The face has been composed with the model situated close to the framing edges of the overall composi-tion. Such basic pictorial ingredients as sharp and blurred focus, bright light, dark shadow and the tilt of the head have all been adroitly managed with just the right combination of no-nonsense know-how and exceptionally sensitive thoughtfulness.

Few artists in the Delaware Valley have pursued portraiture with all the concentrated commitment, artistic consistency and sheer philosophi-cal integrity of Peter Miraglia. His honesty of ap-

proach and remarkable technical virtuosity are abso-lutely second to none. As an amazingly gifted expert in his chosen genre, he searches for and defines the complexity and mystery of the human face in passages of brilliantly nuanced color, tone and texture. Together, they convey a tangible measure of physical solidity, flashes of intuitive insight and extraordinarily expres-sive fluidity.

In the pursuit of his oeuvre, Miraglia makes subtle use of posing and lighting the people he sets up in front of his cam-era. In a similar way, he employs such techniques as cropping and enlarging to effect a resonance of eloquent drama. Through the exquisitely controlled use of these measures, he brings images into existence that are never obvious, corny or tiresome. Avoiding approaches that are either trite or stereotypical, he struc-tures deeply moving photographs of thoroughly credible human beings. They stay attached to the receptive memory of your eyesight long after you leave the gallery where they were initially installed and observed.

Invariably, the faces you find in these artworks remind you of people you’ve met and know from past experience. Simultaneously, they each also manifest a mystery and complexity that lends authen-

ticity and unique-ness to their being.

The differences seen in the many photographs on view are truly staggering. They reminded me of the wide assortment of facial types you find on the many figures Michelangelo brought together in his paintings on the ceiling and altar wall of the Sistine Chapel in Rome. The more you take note of this consideration, the more you appreci-ate the vast range of individual variation there is in the ap-pearance of living people everywhere.

Unlike simplistic snapshots, the photographs of Peter Miraglia are fascinating stories without words. Rich with artistic appeal, they speak in the language of de-sign to unlock additional supporting details filed away

in the recesses of your brain. There, they kindle pro-foundly moving insights into appreciating the meaning and worth of an ever-present human condition.

Friday, September 28, 2012 Friday, September 28, 2012 Page 7www.montgomerynews.com www.montgomerynews.com

Photographic portraitist par excellence

If You Go

“Peter Miraglia — Portraits”will be on view

at St. Joseph’s University,University Gallery,

Merion Hall, Maguire Campus,

376 N. Latches Lane,Merion Station, PA 19066,

Oct. 1 – Nov. 2.Info: 610-660-1845 orwww.sju.edu/gallery.

“Phaedra” by Peter Miraglia

“Elizabeth” by Peter Miraglia

“Caitlin” by Peter Miraglia

“Wolfgang” by Peter Miraglia

“Lance” by Peter Miraglia


CLAY COLLEGE CERAMIC ARTSSTUDIO, Cumberland Co College

Friday, September 28, 2012 Page 9www.montgomerynews.com


Exhibit Info: Our October First Friday

Show will feature artwork by Nicholas

Santoleri. On display will be his drawings

and his prints of local Philadelphia area

scenes.

We are also featuring our American made

crafts, including Jewelry, Art Glass and

Decorative Eggs.

The opening reception is from 5pm to

8pm on Friday October 5, 2012 and will

include refreshments and light fare.

The artwork will be shown for the entire

month of October. Come meet the artist and

enjoy some good conversation

Friday, September 28, 2012 Page 11www.montgomerynews.com


__To place your listing in__

ART MATTERS,____For Information____

Call 215-628-8330; ext [email protected]

Thursday, October 4Rosemont College, Lawrence Gallery, 4 – 6:30pm, Rosemont, PA

Friday, October 5Saint Josephs University Gallery, 6 -8pm, Merion Station, PA

Muse Gallery, 5 – 8:30pm, Philadelphia, PASweet Mabel Folk Art, 6 – 9pm, Narberth, PABlue Streak Gallery, 5 – 8pm, Wilmington, DE

Goggle Works, 5:30 – 8:30pm, Reading, PAPhoenix Village Art Center, 6 – 9pm, Phoenixville, PA

Pennsylvania College of Art & Design, 5 – 9pm, Lancaster, PAThe Great Frame Up, 5 – 8pm, Wayne, PA

Wayne Art Center, 5 – 7pm, Wayne, PASaturday, October 6

Center for the Arts in Southern New Jersey, 7 – 9pm, Marlton, NJSunday, October 7

Philadelphia Sketch Club, 2 – 4pm, Phila., PAManayunk-Roxborough Art Center, Noon – 3pm, Phila., PA

Wednesday, October 10Camden County College Art Gallery, 5 – 7pm, Blackwood, NJ

Thursday, October 11Chester Co Art Association, 6-8pm, West Chester, PA

Friday, October 12Ocean City Arts Center, 7 – 8:30pm, Ocean City, NJ

Saturday, October 13Daylesford Abby, 3 – 6pm, Paoli, PA

Abington Kids Creative Arts Studio, 1 – 4pm, Abington, PAMain Line Unitarian Church, 2pm - , Devon, PA

Sunday, October 14Richard Stockton College of New Jersey, 1 – 3pm, Galloway, NJ

Lancaster County Art Association, 1 – 5pm, Strasburg, PAThursday, October 18

Freedman Gallery, Albright College, 5 – 7pm, Reading, PAFriday, October 19

Main Line Art Center, 6 – 9pm, Haverford,PACumberland County College, 6 – 9pm, Millville, NJ

Saturday, October 20Third Street Gallery, 4 – 6pm, Phila., PA

Sunday, October 21Community Arts Center, 2 – 4pm, Wallingford, PA

Third Street Gallery, 4 – 6pm, Phila., PAThursday, October 25

Center for Emerging Visual Artists, 5 – 7pm, Phila., PAFriday, October 26

Gloucester County College Art Gallery, 6:30 – 8:30pm, Sewell, NJVillanova University Art Gallery, 5 – 7pm, Villanova, PA

Sunday, October 28Philadelphia Sketch Club, 1– 4pm, Phila., PA

Wednesday, October 31Lehigh University Art Galleries, 4pm - , Bethlehem, PA

Studio Tours (P.O.S.T.)For more information see:www.philaopenstudios.com. Openingreception at MRAC: Sunday October 7,2012, noon to 3:00 PMThe Annual Members’ Show runsthrough Sunday, October 28th.The Annual Members’ Show – acceptssubmissions from the art center’smembership along with work by theManayunk-Roxborough Artists’ Co-Op.

OLD CITY

BUCKS COUNTY

OLD CITY COUNTY

October 2012 Listings

MUSE GALLERY52 N.2nd Street, Phila. PA 19106P: 215-627-5310 Hrs: Wed-Sun, noon5pmExhibit info: Muse Gallery will feature“endure.”- an exhibition of landscapeimpressions and figurative drawings inpaint by NANCY E.F. HALBERT. October3rd THROUGH October 28th 2012Opening Reception: First Friday,October 5th, 5-8:30 pm Refreshmentswith the artist during Phila. Open StudioTour(POST): October 20th, 2-6 pmOctober 21st, 2-4 pm

THIRD STREET GALLERY –58 N. 2nd Street p: 215-625-0933Hrs: Wed-Sun, noon-5pmwww.3rdstreetgallery.comExhibit info: POST: Philadelphia OpenStudio Tours 20123rd Street GalleryMembers Exhibition Exhibition: October3 thru 28, 2012 First Friday: October 5,5-9 PM Receptions: Saturday October20 and Sunday 21, 4-6 PM. GalleryHours: Wednesday thru Sunday 12-5PM Post Days: Saturday October 20 andSunday 21: 12-6 PM

Charcoal Works by:Anastasia Alexandrin

INSTITUTE OF CONTEMPORARY –ART – University of Pennsylvania118 S. 36th Street(at Sansom)215-898-5911 Hrs: Wed-Fri, noon-8pm,Sat & Sun 11am-5pmwww.icaphila.orgExhibit Info: Stefan SagmeisterThe Happy Show

October 25-28th3rd Floor Rotunda, Bucks County Courthouse

Thursday, Oct. 25 5-8pmV.I.P.Wine & Cheese Reception

(tickets: $35)Featured Artist: EmilyThompson,

Contemporary Abstract Oil PainterFree admission to show & sale Friday throughSunday and special events Saturday & Sunday

Friday, Oct. 26 10 am - 7 pm Show & SaleSaturday, Oct. 27 10 am - 7 pm Show & Sale

11am-12:30 pm Beading Workshop with GalaxyArtist Nora Lewis (ages 4 and up)

1-2:30 pm Children's Illustrator & AuthorEvent With Lee Harper & Eric Wight

3pm "Self-ExpressionThrough Art: ExploringYour Personal Journey" presented byNOVA Counselors Charity G. Mackey,

M.S., LPC, & Joyce Jefferies, M.S.Sunday, Oct. 28Th 10am - 4pm Show & Sale

11:30am-1:00pm Jazz & Mimosas withDelaware Valley Saxophone Quartet

2pm-3:30pm AfternoonTea withfeatured Artist EmilyThompson

october 2012 art matters

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