MOUNTAIN CABIN This painting has been in our family as long as I can remember.  It was painted for my father, Claude Parker by Vern who used to visit us periodically when we lived in Yuma, Arizona.  It is on canvas, measures 22x18 1/2 unframed.  It was literally shifted from pillar to post, neglected and unattended for years.  When I became an adult, and saw it on a shelf in her house, I told my mother that I wanted it.  Although she agreed, I soon discovered it was in my sister's hands, still in its neglected condition.  I almost battled her for it, but she gave in and I had it beautifully framed in double rough wood and it now hangs in our TV room.  It has to be at least 70 years old.  The color is still vivid, there are no chips or tears, in near perfect condition, even now.  This is the first of my collection.

DESERT SCENE  This is a  small piece I bought on eBay for $25.00 in 2004.  It is a desert scene with an odd variety of foliage.  It lacks refinement, seems quickly done.  What appears to be a matte is an extension of the hardboard that holds the painting.  The frame is original, chipped and scratched, not handmade.  Unframed, it measures 19 1/2x13 1/4, including the white border.  There is a pencil line surrounding the actual painting.  Seems as though Vern might have seen this piece of hardboard sitting about and thought to himself, "Hmm, think I'll paint something."  Not one of his best, but it is signed.  This is my second piece.

In June, 2004, I received this letter from Paso Robles, California; "For over 35 years I have had in my possession what I beieve to to be an original oil painting of a horse by Mrs. Hagman's uncle, Vern Parker.  Out of curiosity, I looked for Mr. Parker's name on the Internet and discovered your website.  I copied one of the postcards to a graphics program and blew it up to verify the signature matched.  Much to my surprise, it did. This painting was give to me by a Forrest  Armstrong the owner of the horse in the painting.  Mr. Armstrong was a very dear friend of mine as a child.  He was a silversmith, saddle maker and shoe repairman in Los Alamos, California.  The horse's name was Ojai.  Ojai died in the mid to late 40's or early 50's.  (A short paragraph about Forrest Armstrong can be found in the Western Horseman Magazine:" Gearmaker Forrest Armstrong lived in nearby Los Alamos. He made bits, spurs and hair ropes, and did some silversmithing. Irwin gleaned tips from him and other gearmakers, and when an engraving accident ended Armstrong’s career, Irwin bought many of his tools and started making bits. At first, he fashioned his bits after old designs but gradually modified them to suit his standards." The horse is black with 3 stocking feet and a blazed face.  The painting is still attached to the original framework with small nails and staples.  Not sure if he was a gelding or a stallion.  Stallion, I believe, not sure of the breed." Mr. Stoneburner then goes on to inquire about the value of the painting and possible appraisal.  Since we did not live too far apart, we agreed to meet half-way in San Luis Obispo.  When he showed me the painting, I was not too impressed and told him I was not interested in buying it.  "Then take it," he said. "It has been leaning against a closet wall all these years and since you are a family member, I would like to give it to you."  Well, of course, how could I refuse?  I think we both drove away happy.

OJAI  The painting is standard size; 24  x 18.  For some reason, I did not want a new, professional frame for it, so I haunted the thrift stores until I found an old frame, good condition, the right size and perfect for Ojai.  I was very pleased with the finished product.  Once again, this is not one of Parker's best.  It appears unfinished as the background is not yet blended in with the subject, the details are sparse and vague.  It is lovely from a distance, but close examination shows the unfinished look.  It hangs in a hallway and I am happy to have it.  This is the third piece of my collection.

The rest of my collection were purchased from the San Juan Archives and Museum, Silverton, Colorado, in May, 2007.  More of this discovery can be seen in Archive of the San Juan Historical Society, Silverton, Colorado

When I saw these beloved and cherished paintings, I felt I was meeting old friends.  Never in my wildest dreams did I hope to see these postcards in their original state. My most cherished, "White Stallion, King of the Herd," hangs above my computer where, any moment I can glance up to see the beauty and detail of this classic painting, one published as a postcard.  It measures about 48 x 36 and is framed in oak.  The spirit of Vern Parker truly lives in this painting.

Perhaps the second most prominent painting is the "Tennessee Walking Horse" displayed in the entrance hall.  It measures 36 x 24.  Also in excellent condition, but not as well preserved as "White Stallion, there are a few chips and slight damage.  Before framing, I was advised to take it to a restoration expert for evaluation.  "No," she said.  "I would not advise any work on this painting as the damage is not enough to merit the cost and labor.  For its vintage, it is in amazingly good condition."  So it is framed in dark mohagany to accent the dark mane and tail of the horse.  This painting was inspired by Parker when he spent some time in Tennessee creating a gate for Jim Ward of Maryland Farms.  For more information on the background and Maryland Farms, see About Vern Parker "Shetland Pony with Saddle" hangs in a hall leading from the main entry into the house.  Again in amazingly excellent condition, the only visible defect are what appears to be two nail holes at the top.  It measures 33 1/2 x 23 1/2, framed in ornate dark oak.  It is one of the rarest of the postcards.  Imagine how it would look in a childs' nursery.

The Apache Maiden with Pottery is the only non-horse painting I purchased.  For some reason she struck my fancy, and I find pleasure in this lovely girl.  The painting hangs on the wall just inside the hall entrance.  It measures about 12 x 14.  There is lovely detail, expecially in the pottery and jewelry.  It came already framed.  This completes my personal Vern Parker Art Collection.

This painting was bought by my sister, Phoebe, and her husband, Jim Dowling around 1972-73.  When she died in 1997, the painting went to my nephew, John Dowling, who is presently in possession on it.  It measures about 12 x 14, beautifully framed.  Notice in the studio photo the wide variety of  horse painting. The painting of the Indian chief to the right was made by John Dowling, grand nephew of Vern Parker.  It is clear to see that the ability to paint is a family trait.

This is the only religious painting known to be done by Vern Parker.  It was painted for my father, Claude Parker, when he was missionary/pastor to an Indian mission in Yuma, Arizona.  Painted on velvet, it is big; about 8' x 10'.  It is now in the possession of my nephew, Troy Parker Wise, son of my youngest brother, Joshua Parker.  It is at least 70 years old.  For more on this painting, go to About Vern Parker Yuma.

During the time when Vern Parker was in Santa Ynez, in the 40's and 50's, he crafted many unique and creative gates for the landowners and ranchers.  One Otto Battles, a rancher of some substance, was one of these.  When Battles died and the house was sold, the sign remained.  Tom and Carolynn Petersen, natives of Santa Ynez lived and still do, on Alamo Pintado, just below the Battles' home.  Knowing the sign would have no meaning to the new owners, Tom took the sign, post and all, and brought it to his home and stored it in the garage where it had been for many years.  During my research, I was put in contact with Tom and Carolynn.  I stood in awe at this remarkably preserved sign, thanks to the protective custody of these fine people.  The letters are deeply carved and beveled.  The painting is as vivid as though it had been recently painted.   The sign is two redwood 2 x 8 planks, in two parts.  It measures about 2' x 4'. Remarkable.  After taking the photos, I thanked them and prepared to leave.  "Take it with you," Tom said, "it belongs to you."  His generosity left me speechless.  And that is how I came about to own a master carving from a master carver.

The Otto Battles' sign reads: "Hacienda Bienvenido, Mr. & Mrs. Otto V.  Battles.  At the time of the carving, the Battles' home was visible from the street.  The Petersen's home is just below.  It is now overgrown with nature's growth and not visible.  A poor but pleasant photo of Tom and Carolynn Petersen, scanned from an article in the INSIDE THE SANTA YNEZ magazine, Summer, 2008.