A Mystery Solved Backwards

Known: the small male Quail, reissued under license by Share The Love in 2014, is a Maureen Love design. The mold was in her estate, and was collected by Dawn Sinkovich. We measured the interior mass, poured the rubber master into the mold, and preserved it, as her subcontractor. There is no doubt of its provenance. Then, Dawn personally cast and glazed the edition.

Share The Love Quail

(I bought this one because I liked the backwards plume.)

What we didn't know, with any certainty, was the purpose of the design. Was it for Maureen's own pottery, or for a big company? Were there just a few, or were they mass produced? Why did they bear such a striking design resemblance to the Large Quail that Maureen designed for DeForest of California?

Was he meant to be a maquette, or finished at full size? Share The Love, as far as we knew, was the first to finish and release a never-made, waste-mold quail.

These questions might have gone unanswered forever, if not for a chance find on eBay, one random night, when I had a bout of insomnia. Scrolling through esoteric search headings helps put me to sleep... that is, until I stumble upon a new-to-our-collecting-world Maureen Love sculpture on a cheap Buy It Now. Then, I twitch, toss, and turn until daylight. Tracking number, what's the tracking number?!

The BIN listing dimensions had me already formulating this blog post. She was exactly the right size. Her very existence solved a mystery. She was unmarked, so how could I identify her factory? 

Easy. DeForest birds have tells. 

1. The fantasy wing shape.

2. Pink dryfooting on white-bodied ware. (The interiors are white bisque.)

3. Groovy art glazes.

This was, without a doubt, a deForest small female quail.

Her very existence indicates that the STL small male quail was originally issued by DeForest, too. Even the carved bases match. Figurine pairs and families were typical in California potteries. It encouraged more sales, and the marketing strategy continues to this day.

As this is the only example known to our hobby, I volunteered to have her molded for Share The Love.

In 2017, collectors will be able to reunite the quail pair. For once, insomnia pays off; this time, it gives collectors more to Love, and solves another mystery.

Something To Crow About

I woke up yesterday morning with no intention of going out. Insomnia and a crummy Saturday had set my mood. My husband wanted us to go to our favorite Indian Sunday brunch, and meet a couple old friends. I trudged through my morning animal chores, grumbled as I dressed, but all at top speed. We'd inadvertently slept in, and people were waiting for us.

We had a nice brunch visit with them, also collectors of various ilk. I even had time to sketch and email some projects to a client, while I nibbled kheer and gulab jamun. That sentence right there is my heaven on earth, my favorite combination of things to do! 

It was such a sunny day, we decided to extend our morning in town. We headed for the art supply store, which happens to be located next door to a vintage-and-antiques mall. While my husband gathered some supplies, I took a stroll through the mall, curious but expecting nothing. This mall is well known to all local chinaheads and Tikiphiles, and it is thoroughly (and weekly) combed by the same. These days, I never expect to find anything that fits my collecting focus; it's just not a statistic likelihood. I was mostly looking for Christmas gifts for friends. Where are all the Poodles?!

Almost halfway through the mall, a figure at eye level shouted out to me. Collectors, you know what I mean! It was very shocking, almost dream-like, because there is only one known example. The one known example lives in my collection, at home. This was a completely different glaze finish, and it was slip-stuck to a functional item!

"I know you! What are you doing here?"

Photo taken "in the wild".

As it sat there on the shelf, it appeared to be a lid mismatched to the casserole dish beneath it. It was set at a jaunty, somewhat risky angle, so I took a photo, put down my camera/phone, and then lifted it off with both hands. Here is the tag description:

My mind began to sort out the similarities to other non-HR Love ware, by the production value and colors. There are several Maureen Love molds that were not produced by Hagen-Renaker, but are known from her sketchbooks and single examples in her personal estate. She even mentioned having freelanced for Twin Wintons and others*, and a recorded interview identifies the owner of another pottery: Bill Lenaburg. Some people call these the Mystery molds, but this blog has deduced that the factories that produced some of them were Marcia of California and Lane and Company Ceramics.

This is the previously only known-to-the-hobby example, a gift from Margo Potheau, just about a year ago.

He was not produced by Hagen-Renaker, and it was assumed by most of us that it was a piece Maureen designed and cast in stoneware for her own collection.

After this random antiques mall find, I am happy to report that you, too, can own an OF version of this charming Love rooster! All you have to do is search Etsy and eBay. It is my best guess that these are Marcia of California, as the glazes are found on other MC functional ware. These plate molds show two of several ways that MC marked their molds. The round plate was also used with a non-Love rooster accent, and was the top of a lazy susan egg dish.

Pretty sure this will make my chicken-collecting pals very happy! Who knows, maybe your grandmother's egg dish had a bit of Love in it, all along?

This white OF piece had a rough time in greenware.

Either crude casting or cleaning reduced some of his beak, hackle/cape, and the blade of his comb.

I have already seen much better examples, online.

The variations I have found in just a brief search are:

four-points leaf egg plate, marked with mold number 515 and Calif. USA (typical for MC)

round egg plate, no marks (also well known for MC ware)

Two different colors of green glaze!

Mold number 515 refers to the plate mold, not the rooster mold. 

The rooster mold number is unknown.

I have found these colors:

solid dark green leaf plate with white rooster

solid white plate & rooster

squash orange with white rooster

Some have a little streaking in the glaze where the rooster's white glaze ran down into the color glaze of the plate. Values online are under $30 for these plates. The Love rooster is the same mold for each. Like the Marcia/Lane Love Horses and Bull, the rooster's greenware cleaning and mold crispness varies.

< Crispy Chicken                  Soft Chicken >

Although the plate molds are also found with more upright-posed roosters, sculpted by someone else, the base where Maureen's rooster is attached appears custom-fit for both plate molds. Maybe the company gave Maureen a footprint outline, in which to sculpt the figure? Which came first, the chicken or the egg plate?

It's very interesting is that this Rooster and the Fighting Bull both are done in Maureen's Cubist style, and both were represented in her estate by single examples, custom glazed by Maureen. It fits that they both turned up in OF Marcia/Lane production.

This find feels like another gift from Margo, and the timing gives me goosebumps. I am keeping my promise to identify and share Maureen's work with as many people as I can, with the help of the internet.

Collector friends, you are thus challenged: 
What other "only one known" Love pieces may have been produced by other manufacturers? Let's find them!


References:

*Kelly, Nancy. Horse, Bird, and Wildlife Figures of Maureen Love: Hagen-Renaker and Beyond. Page 8. Schiffer Publishing, Ltd.: Atglen, PA, 2003.

Online sources linked throughout post.

Plasticarve: "That Wax Maureen Used"

If you ever found the Love estate auctions on the Hagen-Renaker On-Line Museum site, chances are that a big question mark formed in your head, as if sculpted right out of "Plastic Carve". Several auction items were described as made of this material, correctly spelled "Plasticarve". This keyword alone has no English leads on Google, until this post, at least!

A very short summary of the pottery process:

First, Maureen sculpted rough models in modeling plastilina (oil-based, waxy clay that can't be kiln-fired). She'd make a waste mold on this original, since most manufacturers wanted a hard master for making their own molds. Her waste molds are sometimes called "ball molds", and have a rounded shape, compared to squared-off molds for production. 

I spy with my little eye... Maureen's fingerprint, right above .COM

This is the ball mold for one of the licensed Muscovy ducklings from Share The Love.

To cut weight, instead of pouring a solid matrix on each side, she flicked plaster on segments and gradually built a ball-shape around the model. The empty ball mold would be soaked in water, drained, and then hot Plasticarve was poured inside to make a new positive/figure. The Plasticarve had traits of both wax and clay, and even plaster (polishing potential). 

Plasticarve.

The Maureen Love Originals Foal, aka, the MFMG "Calendar Foal".

This rough version is the older MLO foal.

          Plasticarve   / MLO stoneware /    MFMG "Calendar Foal"

By resculpting and smoothing out the Plasticarve, she got a perfectly refined, hard master that could hold up its own weight, without a wire armature.

Now that you can see how useful this material is, I'm delighted to be able to share with you the story of Plasticarve, from the son of its licensed manufacturer. He contacted me after finding a mention of Plasticarve on this blog. 


KP (name withheld by request) wrote:

The inventor of Plasticarve was Pat Crouse. The story I know is that he developed it for use in the aircraft industry for fairing wings to fuselages in the ‘40s. 

The inventor, with some partners, made up a craft kit that consisted of an instruction booklet, some tools ( knife, pencil, carving tools) in a box. A pattern for a head of Lincoln was included. This was in the 1940’s. The story, as it came to me, is that Pat ( the inventor) had contracts with major department stores for Christmas, and then there was a railroad strike that prevented getting the product out, so the venture went bankrupt. My dad bought the residual goods, so we had hundreds of the knives and wax pencils stored for years and years….we would sell a couple a year. I used to have one of the booklets but I think it is lost now. 

My father bought the residual business from Pat (a family friend) and continued the sales to sculptors, ceramicists, and the like.  After he died I continued to make it, but it was a struggle since I had no permanent place to keep the equipment for mixing, etc. so I eventually gave it up.

I have looked for an alternative to Plasticarve on the market, as I guess there are still people that need the low temperature melting point and easy working with hand tools, but I have not found one.  Computer modeling and 3-D printing is all the fashion now but I guess there are still artists who want to work with their hand tools directly.

Great to read your story about the Plasticarve model from Maureen that turned out to be slipcast.  My dad used to make plasticarve and I guess he sold it to Maureen, either directly or via Westwood Ceramic.  I have the old account books so I can check if she was a direct customer or not.

I did the easy part, i.e. flipped through the business records from the 50s to the 70s.  Unless Maureen used a business name she was not a direct customer, so maybe she bought the Plasticarve from a Southern California ceramics supply, who used to carry it in their catalog.

KP was trying to balance his university studies with the laborious production of Plasticarve at a remote location from school. Eventually, he could not keep up with demand and was dropped as a vendor. Laguna Clay Company acquired the (name withheld) ceramics supply in the 1990's. The specific date jives with when I started hearing of, and later, seeing, Laurilyn Burson recycling some of Maureen's old Plasticarve models, melting them back down to become new positives for her to polish. 


KP wrote:

... in the old days we had a couple of steady customers from the toy industry.    The story was that they would sculpt the masters for toys in Plasticarve, then electroplate a copper mold directly on the Plasticarve master to replicate it in plastics. I remember meeting one of the artists at a trade show and he definitely did not want to talk about Plasticarve in public ( this was the 60’s) since he regarded it as one of his trade secrets.

I am not sure that anyone does that any more, since the 3-D machining is everywhere.  Although I work in the tech industry I do not use any of the 3D modeling software so I do not know how intuitive the user interfaces may be.

Indeed, I found a toy collectors forum talking about this use:

"Kenner used a number of different waxes over the years. I know they used a product called Plasticarve (sp?), which I believe is that pinkish stuff, but it varied. During the early ESB years they seem to have used a white-colored wax quite a bit, and it has a different consistency. Some sculptors even formulated their own blends. In general, it's nothing like the wax of a crayon or a candle; it's not nearly so oily or crumbily. I believe it has a lot of talcum powder in it, which gives it a kind of smooth, finely-textured feel, and probably helps it to take fine detail." 
- username ronsalvatore

Ron pretty much nails the description of Plasticarve, right there. I've seen it in gray, cream, and light pink. Sci-fi nerds take note: this came from a discussion about the original 1977 Star Wars action figure prototypes in Plasticarve. 


KP wrote:

The other use was for masters for plaster molds for slip casting, which I guess is what you are using it for.  I have never done that myself so I am curious how you create the parting lines to get the mold to pull cleanly from the master.

Plasticarve with plaster mold parting lines still visible.

The Maureen Love Originals Foal, aka, the MFMG "Calendar Foal".

The answer to that is, "very carefully". My first professional experience with Plasticarve was when I designed the Miniatures Guinea Pig for Hagen-Renaker, in late 1995. I recall that when I completed the brown plastilina model, Laurilyn made the waste mold. The mold is a sculpture, in itself!

Photo courtesy Joan Berkwitz.

Plasticarve original Guinea Pig submitted to Hagen-Renaker.

Ceramic produced Fall 1996 to Fall 1997.

I was so careful to not break off his wee feet, while cleaning off his mold lines and sharpening his detail in the nostrils, eyes, and fur texture. I love how easy it is to polish, fill, and shape, and yet it is strong.


KP wrote:

I found your website….we are from the same part of California, since I grew up in Orange County. I was interested to read that Maureen worked for a company in Monrovia, since my parents had many friends in that area. My dad was a potter in addition to working as an engineer ( mostly throwing on the wheel)  so I wonder if he knew the folks at the company Maureen worked for….I will ask my mom the next time I see her.

...Just so you are not disappointed, one difference that you will notice is that the color has changed. I used to add pigment to get the white color, but the pigment went out of production so now the color is  sort of grey. 

I'm not bothered by this, as I have seen Plasticarve in several shades- from white/cream to peach to this khaki. With Plasticarve becoming so scarce, and serious potters needing it for their own businesses, I had to quickly adapt to pottery production with no wax intermediary stage. I learned to polish the brown plastilina with condensation, since oils and spirits break down the clay. When I need a hard master to supply to clients nowadays, I sculpt directly in Aves Apoxie and have resins cast. I'd love to be able to go back to the old way of doing it, for my own pottery moldmaking, as plaster molding directly off of brown clay and Apoxie each have their drawbacks. At last, there is a chance to do that.

KP's Plasticarve from storage, ready to be shaped into something new!

KP has a limited supply of his father's formula on hand, and I am ordering some for my studio. He offers these tips for working with this wax:

Melting temp is 143 F….melt in a double boiler.
You can color by adding crayons.

Initial blocking out by carving can be eased by warming the whole piece in warm water.

You can weld or repair with a hot knife.  Put the two parts together and probe the joint deeply with the hot knife to knit the parts together.  Small defects can be filled by puddling some scraps on the surface

I am told you can paint by spraying on a very dry coat of shellac first.  I have never done this.

In the past, I used steel minarettes, an alcohol torch, and a modified soldering iron on a rheostat. Now, I own an electric wax pen (high tech version of the same thing), so that should be perfect for Plasticarve work. If anyone out there needs their historic Plasticarve models restored, I may be able to help.

A certain complex, kicking Somali donkey jenny will be my Plasticarve test subject for ceramic production. Watch for a future photo tutorial on the whole process, this winter!



References:

KP (name withheld). Pers. comm. October 3rd-16th, 2014.

Ed Alcorn's Hagen-Renaker On-Line Museum: http://hagenrenakerhorses.com/MaureenLoveEstate.html

Plasticarve Foal from the Margo Potheau Collection. Thank you, Margo and Danielle.

Ball mold courtesy Share The Love.

Muddy Monday: Post Position

My position on weekly posts: I must do them. There is too much cool pottery trivia coming to light (with the help of friends), so I will not take a hiatus during my annual trade show rush. As information and photos come up, I feel like it's my duty to share with you, and keep the positivity moving forward.

It is also horse racing season, and there just happens to be a related subject in ceramics. 

Maureen Love sketchbook images courtesy Share The Love.

This may be her closest sketch to the HR mold.

From Sketchbook Horses of Maureen Love, 1990.

This blog has the permission of the original publisher.

The Hagen-Renaker Designer's Workshop "Thoroughbred and Jockey", mold # B-760, is a wonderfully complex sculpture, with enormous decoration potential. I fancy it to be designer Maureen Love's best snapshot of suspended equine action, and the truest human figure work in her 3D portfolio. Sadly, few exist because it was so difficult to produce, and this was the highest-priced horse in the HR line, at the time. The original issue was produced during one factory season, Fall of 1962.

The only order form appearance of #B-760.

I'm delighted by the "orange" color note for Modern Horse!

From Benuish's HR Research Materials.

Original Hagen-Renaker advertising image.

Courtesy Nancy Falzone.

The McCall and Abelson books list the production colors as "grey, brown, and bay" with variable jockey's silks colors. Oddly, one sees more original issue chestnuts ("brown"), in both bisque and glazed, than the other colors.

Chestnut or "brown" factory glaze

Model courtesy Jo Ellen Arnold

The care that was taken to keep the silver luster overglaze from running over!

Chestnut or "brown" factory glaze

Model courtesy Jo Ellen Arnold

Chestnut or "brown" factory glaze

Note different decoration from chestnut, above.

Non-factory base.

Photo courtesy Black Horse Ranch/Peter Grimm

Bay factory glaze

Photo courtesy Black Horse Ranch/Peter Grimm

Note that the decoration does not match the bay in the HR photo, so this a different example.

Not original mold's base.

There was no specific horse identity tied to this model, unlike the other Thoroughbreds in the DW product line. They always carried the number 7 on the saddle cloth, but all I can guess is the significance was "Lucky Number Seven", a bettor's charm in horse racing.

From a moldmaking standpoint, this is a genius job. Look at how the jockey's whip hand has finger detail, and and it pulls from across the horse's back.

The jockey's face has emotion, ear and hair detail, and even crow's feet!

Chestnut or "brown" bisque

Photo courtesy Nancy Falzone

Non-factory base.

Chestnut or "brown" bisque

Photo courtesy Black Horse Ranch/Peter Grimm

Chestnut or "brown" bisque

Owned by Sharon Carabajal, photo courtesy Nancy Falzone

Chestnut or "brown" bisque

Owned by Simmie Smiljanic, photo courtesy Nancy Falzone

The rubs through the underglaze color, which we can see on the bisques above, are invisible on raw greenware. They are caused by laying the item down on surfaces, while switching grips or changing out airbrush colors. Modern studio potters have developed several techniques using padded materials to prevent these rubs. Underglaze is unforgiving, and you can't just patch rubs without darkening the entire area.

Now that you have seen how similar all those bisques are, here's an odd one from the personal collection of Maureen Love. It was sold in the first week of the estate dispersal auctions, starting May 22nd, 2005. The auction described it as PlastiCarve, Maureen's prototyping wax, but it isn't.

Acrylic custom base by Paul Francis.

How did this rare casting end up in Maureen's hands, if it is not a PlastiCarve wax? 

Well, the white slip color might indicate it was cast to be one of the gray horses, mentioned earlier. However, if it was intended for issue, it would have the same belly hole treatment as the others. The others have a filled pourhole and a vent hole punctured into the chest, or a completely unfilled pour hole. This one has a filled pour hole and a vent hole punched right in the belly, next to the pour hole.

It is a mold test casting, or, as known in other industries, a "test shot". It appears that the caster didn't know what to anticipate in terms of the mold's capacity and absorption, because it is a very thick casting. A mold's tendency-to-be-thick, or maybe tough to drain, is discovered with trial castings like this, and corrected for production (as much as possible).

Being so thick and heavy, it was laid down to bisque fire, which either caused or enhanced leg warpage. The initial warp could have been tugs from demolding, as they all are to the same direction. It wasn't an ideal casting for archiving as a mold insurance bisque, but Maureen was given imperfect or test castings to take home and glaze for her own fun. She never got around to decorating this one, perhaps because he lacked an original base?

Both the left foreleg and the left hindleg bow slightly inwards.

A little smaller size is to be expected.

Thicker castings shrink more.

Even with the hind legs raised off the base, the bisque is still shorter.

Model courtesy Jo Ellen Arnold

Then, this interesting race horse came my way. He is from the HR archives, a gift to a collector (now out of collecting) from Maxine Renaker, over two decades ago. The finish reportedly dates to the original issue of this mold. The breaks and ear chips are through his finish, so it was not applied after he was damaged. The slip color matches that of the chestnut bisques shown earlier in this post. 

It has the same unfilled pour hole as visible on the chestnut bisque owned by Sharon Carabajal, above. These points confirm that this earthenware body was pulled from the production line. As it resided in the HR archives for decades, it was probably decorated by an employee or family member.

Who is that? What is that? Is that glazed? Is that a stoneware by Maureen?

I feel a tug at my heart that this reveal may disappoint readers: as much as the surface decoration resembles a Maureen Love stoneware, this is acrylic paint on earthenware bisque. This photo even shows the thick brushstrokes. The overall style and novelty of this piece would lead one to think that maybe Maureen painted it, but with a little sleuthing and a personal experience, I can tell you why she did not paint this rare bisque.

Clue #1: Painted teeth.

While at a BOYC ceramic show, Laurilyn and Maureen invited me out to the car, to show me their progress on my "Gig" Thoroughbred order. He was nestled in the trunk, well, more like taking up a lot of it... I asked Maureen if she would be decorating his teeth, inside his open mouth. She was quite adamant that the teeth should never be decorated because it is too distracting. If there are any Gigs out there with teeth, I'd be surprised, after her reaction!

Beyond that personal experience, I would venture to say that Maureen knew better than to paint horse teeth like a solid human tooth array. She would have left the bars of his mouth open and toothless!

Clue #2: Eyes painted outside the lines, and uneven eye scleras.

A collector might find these errors in fired glazes, where the materials are difficult to apply and see raw. The glazes may melt and spread over surfaces during firing. However, an experienced hand with all decoration media- oils, glazes, stains- would not make this error with such an easy-to-use paint as acrylics.

Clue #3: The "stoneware" mimicry stops dead at the jockey's face. 

A soft, realistic decoration makes up his face. Maureen's stoneware riders (Indian on Pony) showed no such sudden break in the decoration style. The dark antiquing continued into their faces. This soft, realistic jockey is uncharacteristic of her riders with this type of stain.

Indian on Pony MLO stoneware figures.

Even though he clearly was not painted by the original designer, and not a factory-glazed piece, this custom painted bisque is still a cool piece of HR history, and worthy of display. A horse can't stand on just two legs, so there was the problem of replacing the missing limbs. Fortunately, the white bisque Racehorse and Jockey was here, so I used it as the reference to sculpt the replacement limbs. I used calipers to measure how much leg was needed for each. This told me how long to make the steel pins that would serve as the armatures for the new legs.

Drilling and pinning steel for the replacement legs.
The glue shows the bisque chestnut color when wet.

With Aves epoxy, I generated new limbs that were line-for-line copies of the white bisque casting. Even where a mold tug or unfinished seam ran through the white bisque, I recreated the look on the epoxy limbs. This was a good exercise in sculpting what was in front of my eyes, using someone else's 3D solutions, and not sculpting as I would for myself. 

I mixed up paint to copy the red underpainting, then other colors for the dark over-painting or antiquing. Finally, he was sealed and a couple applied layers of pastels recreated the years of varnish and dust embedded in the finish. This final bit made the legs "believable" as part of him, since I can't clean him without damaging the finish.

After all that, he can run with pride again.

The story of this mold does not stop there. In 2009, the DW model was reissued in a variety of made-to-order color options. With so few original issue in collector hands, this was an exciting option for collectors. Add to that excitement the fact that it could be ordered in an array of horse and silks colors!

HR Reissue Racehorse

Silks Color	Charcoal	Chestnut	Dark Chestnut	Dapple Gray	Rose Gray	Other Gray*
Blue	1		1	1	5	1
Red	1			1	2	2
Green		1			1	1

The two charcoals were made with different mane and tail colors. The one with blue silks has black mane/tail, while the red silks has white.

Both dapple grays are Tests.

In the Other Gray category, the two red silks are Light Gray with white mane and tail. The blue silks has black mane and tail. The green's hair color is unspecified at time of post.

Reissue Rose Grays, photo courtesy Ed Alcorn.

Reissue Dark (left) and regular Chestnut, photo courtesy Ed Alcorn.

Reissue Charcoals, photo courtesy Ed Alcorn.

Reissue Test Dapple Grays, photo courtesy Ed Alcorn.

The issue price was $500, which was the upper level of the reissue range at the time (a parallel with the original issue's circumstance). Only 18 were made, alas, succumbing to similar technical and expense difficulties that complicated the original issue. The reissues were opened for orders during the same BreyerFest weekend as the reissue DW "Maverick". I got to see the brand-new factory samples of both in Gerry Bowman's room. Guess which one I chose to order? Yes, I am kicking myself, now. 

You might hear collectors refer to this DW mold as the "Racehorse and Jockey". This can cause confusion with the smaller HR Specialties "Racehorse With Jockey", mold # 3297. This Maureen Love design debuted in Spring of 1999, sporting a bay horse color and salmon silks. This design is also a complicated ceramic figure, in that the jockey is cast separate, and has opening in his hands to hold the crop and the reins in final assembly. The reins are thread, and have been issued in both brown and black thread. Later issues have pale pink, blue, and iridescent green racing silks.

Specialties "Racehorse With Jockey",

photo courtesy Ed Alcorn.

Left: Specialties "Racehorse With Jockey"

Right: Designer's Workshop "Thoroughbred and Jockey"

While it may be difficult to acquire the DW mold due to its few numbers, the Specialties mold can easily be found for sale. It's nice that HR made the design available in a handy and affordable size, to enhance our collections.

Well, I have breezed through this post, it's time to run!

Gratitude:

Dawn Sinkovich/Share The Love and Joan Berkwitz for blog permission for various Love sketches.

Jo Ellen Arnold for her great hospitality, and allowing me to photograph her lovely show model, "Santa Anita", an original issue chestnut Thoroughbred and Jockey.

Nancy Falzone and Jo Ellen Arnold for their combined efforts to track down the quantities of the reissue colors, as well as Nancy's vintage photos of the original issues.

Ed Alcorn, for the continued permission to use his HR Online Museum photos on my blog.

Peter Grimm, for sharing Karen's wonderful photos.

References:

Abelson, Cheryl Ann. Hagen-Renaker Collector's Catalog. Second edition. Page 40 and plate #58. Privately published: Howard Beach, NY: 1980. 

Alcorn, Ed. Web site. Maureen Love Estate Auctions. 
http://hagenrenakerhorses.com/MaureenLoveEstate.html

Benuish, Alison, ed. Hagen-Renaker Research Materials: 1949- Present. N. pag. Salisbury, MD: WMHC, 1995. (order form)

Berkwitz, Joan, ed. Sketchbook Horses of Maureen Love. Privately published: Carlsbad, CA 1990.

Falzone, Nancy. pers. comm. May 12, 2014.

McCall, Jeannie. The Hagen-Renaker Horse Reference Guide. Page 76-77. Teena Housman: 1988.

Roller, Gayle. Hagen-Renaker: A Charlton Standard Catalogue. Third Edition. Pp. 87, 492. The Charlton Press: Palm Harbor, FL, 2003.