Hand made glass in ocean hues.



Mouth blown glass bowl with marbled copper.


Glass created by the human touch. Signed.


Free blown fluted bowl with metallic band.


Strike off detail of a mouth blown coral design platter. Signed.



Along with an incredible amount of paintings, etchings and photography, Fairweather House and Gallery also displays  three-dimensional works, ceramics, sculpture, jewelry, wood,  hand blown glass, mouth blown glass and fused glass.



One-of-a-kind exquisite seeded bubbles glass bowl.

“Riding the seismic shift toward artisan-crafted goods, makers along the coast shake up home decor with pieces that are all about the human touch.”

“First Snow” original oil on board by Blue Bond


“Winter visitors” original oil on canvas by Blue Bond

Fairweather House and Gallery exhibits selected oil paintings by Blue Bond, a well-known Northwest artist and fellow Seaside gallerist.



“Blue Bond paints with bold swaths of color, showing inner emotion and incredible talent.”


About the artist:

Blue was born in Kentucky and comes by his southern charm with grace and dignity. His father was a lifelong military man, so the family moved frequently, even to Panama. Blue has always loved to travel, see new and exciting places, and has based much of his art on the vibrancy of life itself.

Art has played an extremely important role in his life, from designing and painting signs, doing window displays, to producing thousands  of oil paintings over the span of fifty years. Blue is a self-taught artist.

Blue’s bold, colorful paintings can be found in art collections throughout the United States and Canada. He is best known for his Western art and portraits.


“In 2017, Blue and his wife Karen opened the Blue Bond Studio and Gallery in Seaside, Oregon.  He began teaching art to novices as well as accomplished painters. His ability to teach students to paint what they see is at the heart of his lessons.  They learn to view the world through the eyes of a painter, and gain real appreciation for all forms of art.  Accomplished artists learn from Blue how to paint fast, and wet on wet. Blue also teaches painting in oil and acrylic to students from 12 years old and up, in private or group classes.”  copyright Blue Bond Art Studio and Gallery.



Blue Bond self portrait

Blue Bond and Lou, a colorful local photographer, at a Fairweather Gallery event. Blue painted Lou’s portrait.


Blue Bond  excels at portraits, with the subject’s eyes being the gateway to their inner soul.



 “Thank you Fairweather’s for the glowing verbiage! Yes, Blue is an incredible artist, and definitely excels in portraits of people and animals.” Karen Bond


Since 2018, Blue Bond has selected original art to be sponsored at the Fairweather Gallery.

Blue Bond’s selected art is on display on our wall for the entire duration of an exhibit.

 Fairweather House and Gallery has 2,500 sq. ft. of exhibition space and features regional artists.

We rotate art monthly.



Celebrating 15 years in 2019.

 Seaside First Saturday Art Walk dates:

There are no Art Walks scheduled in January or February

March 2

April 6

May 4

June 1

July 6

August 3

September 7

October 5

November 2

December 7

Visitors meet artists, snag appetizers by favorite restaurants or personal chefs, view artist demonstrations and, oftentimes, enjoy live performances in music.

The event is free and is open to the public. The Art Walk is all about seeing art in the galleries and boutiques located between Holladay and Broadway in the historic district of downtown Seaside.

We participate in Seaside First Saturday Art Walk almost every month, which draws hundreds of people.

“Those that live for the arts, support the arts.”


“High Seas”  original oil on linen by  Ron Nicolaides.

January 2019

 “Where the spirit does not work with the hand, there is no art.”  —Leonardo da Vinci




“Having worked on this painting for many years, more than twenty years, in September of 2018 I chose a different focus. The sun, too bright and the waves not powerful enough, in my opinion.”  Ron Nicolaides


 “The beginnings and ends of shadow lie between the light and darkness and may be infinitely diminished and infinitely increased.” Leonardo da Vinci


“It is always attempting to paint the light  that I remember most.  It is my inspiration. 

Light and its elusive quality can transform a landscape in just a matter of time.  

Originally, the sun was the focus, later, as the painting matured; the light on the sea and its fleeting magic was given more highlights.” —Ron Nicolaides 



Painted in the Hudson River School of Painting style.

Q: What is the Hudson River School of Painting style, you ask?


A: Hudson River School of Painting, an American art Movement, was originally a group of American landscape painters of several generations who worked between about 1825 and 1870. The name, applied retrospectively, refers to a similarity of intent rather than to a geographic location,  the  members of the group drew inspiration from the picturesque region north of New York City, through which the Hudson River flows.

An outgrowth of the Romantic Movement, the Hudson River school was the first school of painting in the United States; with its proud celebration of the natural beauty of the American landscape and in the desire of its artists to become independent of European schools of painting.


Hudson River School paintings reflect three themes of America: discovery, exploration, and settlement. The paintings also depict the American landscape as a pastoral setting, where human beings and nature coexist peacefully. Hudson River School landscapes are characterized by their realistic, detailed, and sometimes idealized portrayal of nature, often-juxtaposing peaceful agriculture and the remaining wilderness, which was fast disappearing from the Hudson Valley in the 19th century just as it was coming to be appreciated for its qualities of ruggedness and sublimity.


Hudson River School of Painting uses symbolism and allegory to convey  feelings about the natural world, often with connotations of the supernatural.



“Pacific City Haystack Rock” original oil on linen by Ron Nicolaides.  

“Ron Nicolaides paints in the Hudson River School of Painting style.  Note the use color, weather, light and shadow, and other dramatic elements in nature suggesting  creating strong juxtapositions and high seas in the same painting. This is the essence of any masterful work of art.” D. Fairweather, gallerist




And, too, on January 3, 2019 a tale of three Oregon coast Haystack Rocks:


There are three Haystack Rocks on the Oregon coast. Visitors from out-of-state who tend to latch onto the one in Pacific City, or the one in Cannon Beach or the one in Bandon. Indeed, there are three major landmarks, all regularly photographed, and all by the name of Haystack Rock.

One is the gargantuan Haystack Rock at Pacific City at 340.6 feet high and is almost a mile offshore from the landmark Cape Kiwanda.

The Haystack Rock in Cannon Beach is 235 feet high and sits right up on the tide line of the famed north coast town.

The Haystack Rock in Bandon is 105 feet high and is in Coos County. All sea stacks are federally protected and are closed to public access.


Ron Nicolaides, lives in Oregon and studied art at Washington University in St. Louis Missouri, but is primarily a self-taught artist. He painted his first oil seascape in his teens and credits art museums as a basis for his continuing knowledge of art and the Hudson River School style he pursues. Artist Eugene Garin has served as his mentor. However, his work is heavily inspired by the European Old Masters with his greatest stylistic influence being the Hudson River School of artists, such as Albert Bierstadt, Thomas Moran, Frederic Church and Herman Herzog.

The western landscape and Pacific coast are the predominant subjects of Nicolaides’ paintings.

Nicolaides, with years of study and experience has become a powerful accomplished artist. He has captured majestic landscapes and has mastered the mesmerizing translucent waves in his depiction of the sea without freezing its energetic rhythms.

His strength is his capacity to push the limits of oils and multiply glazes to create the masterful works that bring the viewer right into the scene.

“I have developed a distinctive style that I truly own. I have a consistent body of work to show for it.” —Ron Nicolaides

Read more about the artist at http://www.fairweatherhouseandgallery.com/ …artists tab/ …Ron Nicolaides

One-of-a-kind  turned wood bowl by Daniel Harris.

Mahogany lid, plum and walnut base.


About the artist:

Daniel Harris retired from the Hi-tech Electronics Industry and then lost his vision in the left eye due to a macular hole. Surgery did not recover his vision.  Depth perception and the ability to carve wood was lost.  A neighbor at the coast suggested wood turning.  Daniel mastered turning bowls and using lathe machinery.


Turning wood that has been cut down requires special care in order for the wood to end up in its intended state.  For bowls, the fresh green wood is rough turned to an approximate shape, leaving a wall thickness about 10% of the diameter.


The rough turned bowl is coated with a wax emulsion and left to dry for eight months to one year before final turning is done.  Bowls that end up with hidden voids or cracks are enhanced with gemstone filling.


Plum wood enhanced with turquoise.


Daniel’s latest skill is adding pattern to the rims and sides of the bowls.


“Today, as our homes fill with industrially produced items and products made out of the country, is it any wonder that businesses are once again investing on the appeal of the unique, the authentic, the handmade?  When “sustainability” is the watchword in everyone’s mind, these age-old practices promise if not salvation, then at least a balm for tired spirits, and remind us that the greatest luxury it time for creation.”  –Leslie Camhi


#10. Seaside Painting LIVE ™ demonstrations.  At the easel is artist Carolyn Macpherson.


#9. Fourth annual harp petting zoo. Faiweather’s December Seaside First Saturday Art Walk.


#8.  Artist Emily Miller’s 100 Turtles project. Doing good works.


#7.  Shirley 88 performing LIVE on the Fairweather grand.

#6.  Celebrity artists Jorjett Strumme, Agnes Field and Barbara Rosbe Felisky lecturing.


#5.  Five rescued Fairweather greyhounds made an appearance in the gallery.


#4. Share and Share Alike exhibition.  Indeed, a  show with a personal backstory. Pictured with calligrapher Penelope Culbertson.


#3.  The Perfect Pair, Perfect Pare and Perfect Pear exhibition.  Jo-Pomeroy-Crockett, PhD., explains.


#2.  All the Neal Maine naturalist and habitat lectures at 6:pm during the Seaside First Saturday Art Walks.


#1.  Paul and Lana Jane Brent. Looking back and, surely, looking forward to 2019.


“Truly, it’s the people that offer the energy and talent that propels Fairweather House and Gallery.”

Please visit http://www.fairweatherhouseandgallery.com for more information.



Great Blue Heron by Neal Maine/PacificLight Images.

“After many years of trying to capture a heron in the snow, it finally happened along the Neawanna River in Seaside.” Neal Maine


For more images from Neal Maine, please go to http://www.fairweatherhouseandgallery.com /  …artists tab/  …Neal Maine and Michael Wing



“Would it be possible to share the link that has Katie’s thank you as an end of year story on the Fairweather blog?”


“Of course! We would love that. We’re so glad you were touched by the letter and appreciate you wanting to share it with others.”

Lorraine Ortiz
Development Director


December 2018

Dear Friend of North Coast Land Conservancy,

When I look back on this wonderful year at North Coast Land Conservancy, there is one day that stands out as nothing less than magical. As someone who has joined an On the Land outing or pulled weeds with us, who regularly donates to us or who simply follows us through our newsletters or e-news, you know that among our many projects, the big one we’re working on is conservation of what we call the Rainforest Reserve—3,500 acres of forestland adjacent to Oswald West State Park. I’ve made more than two dozen trips up there this year alone, with old and new friends. But this one day was unique.


We heard that Oregon’s poet laureate, Kim Stafford, was visiting the coast to do a reading, and we invited him to visit the Rainforest Reserve with us. The morning we set out, the coast was socked in with dense fog—classic pea-soup conditions. Yet barely a couple hundred feet up into the forest, the clouds gave way to blue skies and sunshine. The higher we climbed, the warmer the day became. As we climbed the ridge, the summit of Onion Peak gradually came into view: Onion Peak, the highest point in the proposed Rainforest Reserve.

High on the ridge, at the headwaters of streams that plunge down steep chasms to meet the ocean, at the tree line where meadows flourish on rocky balds, I felt like I was perched on an island of wilderness, a secret floating mountain in the sky. We couldn’t see the towns or highway that we’d left behind just minutes earlier. It was strikingly quiet. Quiet, but not silent. I closed my eyes to better hear the sounds of the rainforest: the buzzing, the singing, the whispering, and the whooshing of wings. I felt transported.


I often feel that way when I get off the beaten path just a little bit; do you? When I notice that I don’t hear the road anymore. When I realize my breathing has slowed and I can feel my heart beat. When instead of reaching for my phone, I look to the trees, trying to locate with my eyes the bird that my ears can hear so clearly. Happy memories wash over me, and I feel a sense of kinship with all of creation, past and present. It’s at times like these that I tend to get some of my best ideas.

As Kim put it that day, “This place offers not only clarity of water but clarity of thought. Maybe that’s the business we’re really in: conserving places where all species can be their best selves. Your gifts are the only way we can make that happen. In our land conservation work, I often bump up against folks who say, “I’m not an environmentalist,” or say “I like open space, but I’m no tree-hugger.”  I’ll admit that I have been known to actually hug trees now and then, mostly to feel for myself the scale of some of the big trees we still have on the Oregon Coast. But to the extent that tree-hugger means by-any-means-necessary, I realize that’s not me. And that’s not the organization I work for. By working with willing landowners, by keeping in mind the people part of our people-plants-and-wildlife formula for coastal conservation, we keep open the lines of communication with everyone.


Because I don’t think I’ve ever met anyone who hasn’t experienced one way or another, a moment of magic in the natural world. Who hasn’t felt transported, or felt a deepening of connection with all of creation by being in a wild place, away from the houses, roads, and towns where we spend most of our lives.

The way Kim Stafford spoke about the land that day was so grounding, and so humble and human. It reminded me that we are all just people, doing the best we can to take care of our place, and for so very many reasons:

We save this land because it brings life, water and breath.

We save this land because we love the critters that live here, the wildflowers, and the forests.

We save this land because, in the end, we know it will save us.

Or as Kim said that day, on the shoulder of Onion Peak, one of the pieces of ground we are working so hard to conserve, “It occurs to me, while standing here, that this project will offer what we will long for more and more: clear water, quiet, and starlight.”

Thank you for sharing your time and your treasure and allowing us to do just that, here on our coast: offering clear water, quiet, and starlight, for all creatures, forever.

If simply being in nature is already such a powerful experience for me, what was it about being in one of my favorite wild places with a poet such as Kim Stafford that made the experience even more profound?

Part of it was the day itself: standing on a peak floating upon fog, in the gold and blue of a fall day that felt stolen from summer. But I think Kim was somehow able to read my heart and put words to what I was feeling better than I could myself. Each of us, every human being, has a need for nature, is part of nature. Each of us feels that connection, deep in our hearts and souls, even if we can’t put that awe and that sense of wonder into words the way he could.

The next day Kim emailed us to thank us for the day we shared. What a gift it is to work with such amazing people—people such as yourself—who care so deeply about our coast and for our coast.


Thank you for helping to conserve Oregon’s coastal lands, forever.

All my best,

Katie Voelke

Executive Director

North Coast Land Conservancy

Preserving the Oregon Coast Forever

PO Box 67, Seaside, OR 97138





Hosted by the Seaside Library Art Committee

“Maybe no other local wildlife creature represents the natural history of the North Coast land ocean interface better than the great blue heron.”  Neal Maine

19 images of the Great Blue Heron, a natural history art show, by Neal Maine at the Seaside Library, on public display combined with a printed image guide  detailing the natural history of the great blue heron.



“The goal of this photography display is to celebrate this unique bird and bring life to how the features of the great blue heron fir the abundance and freshwater systems of the North Coast.  Natural history photography places high value on the quality of the image but even more important, is the desire, skill and patience to capture and illuminate the beauty of the coast landscape and its unique wildlife.”   Neal Maine

“This is the perfect time to share NCLC’s gratitude for FAIRWEATHER’S support of our conservation work on the coast.  We are delighted to share about the new social media outreach program NCLC has launched for our business partners as a thank you for your support. Four times a year NCLC will be posting a thank you to FAIRWEATHER on our FB page, with a photo.”

Here is the schedule for FAIRWEATHER’S posts:

Last week of February 2019

Last week of May 2019

Last week of September 2019

Last week of November 2019

Thank you for valuing the beauty and magnificence of the Oregon Coast. Thank you from all of us at NCLC to all of you at FAIRWEATHER.

Lorraine Ortiz

Development Director

North Coast Land Conservancy

Preserving the Oregon Coast Forever





Question to Erick Bengel Coastweekend.com features writer:

“May we share your wonderful article about finding a place of quiet  in a Fairweather blog post in December?”

Answer from Erick Bengel






Over a recent weekend, while staying at the Sylvia Beach Hotel in Newport, I came upon a preciously rare sight: a roomful of strangers silently reading.


In the warmly lit, amply furnished top-floor reading area, a young girl stretched herself across a sofa, and read. Couples leaned against each other, sipped tea and hot spiced wine, and read. Finally, my partner and I, after surveying this sweet scene, took our places, dug out our books, and read.


No cell phones in use. No inane chatter. No pressure to entertain anyone but ourselves. Just the pages before us, pictures of famous authors bearing witness, and the rain beyond the darkened windows. This was quality time.


We need more public places where people can gather to pursue solitary activities.


Libraries can meet this need, especially when they allow coffee, stay open late-ish, aren’t fully open-concept and boast quiet reading rooms where you don’t get caught in the crosstalk of self-conscious patrons.


Cafes can do this as well. A personal problem, however: When I read, I hear a voice in my head reading to me. This means I prefer absolutely no music in my surroundings. Same deal when I write or edit. To work with words — to process information and evaluate a piece of writing — I have to discern their tone and rhythm. Anything that disrupts the voice makes me feel as if I’m trying to listen to a radio station while another keeps overriding it.


Most cafes, then — likely by design — aren’t options for reading at length. Even on a slow day, when the staff are totally cool with a cheap skate bookworm hogging a table for hours and just buying coffee and maybe a brownie — and many, understandably, aren’t — they play music as if it’s a matter of policy.


What about outdoor seating? Great idea — during spring and summer. But fall and winter on the coast do not guarantee hours of rain-free skies. My eyes scan desperately for eaves and covered patios during the cold months and find them in short supply.


Good grief, Erick, why don’t you just read at home?


Fair enough. And I do. But fellow introverts who don’t want to be shut-ins know what I’m talking about. Sometimes we like to see humanity without interacting with it, make eye contact and acknowledge people without it turning into a thing.


Quiet people can have trouble advocating for themselves in their quest for quiet spaces. We tend to feel weird being ourselves in a world that demands most public pursuits be social ones. When we read or write around others, we don’t get the affirmation that comes with, say, playing softball. But when we notice someone else holding a book or notebook — doing something in public that engages their mind and doesn’t require a companion — we feel validated.


Which brings me back to the Sylvia’s reading area. A no-talking rule didn’t have to be enforced (it was, you might say, unspoken). When a pair of women wanted to work on a puzzle in the kitchen nearby, they closed the door behind them. We all knew what we were there to do, and used the space for that which it was intended. We were out and about, but having inward experiences.


And we need more spaces like it, where we can be solitary, but not alone.