The ‘Grey Goose’ painting & poem


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‘Grey Goose’ by William Barth Osmundsen,  Acrylic on Canvas,  50″x 50″

Ode to the Grey Goose

The Grey Goose flew over the water
with a silver chalice in his beak.
He knew he was the inspiration
For a drink served both cold and neat.

The Grey Goose honks victorious.
His fame spread meritorious.
From Canada to Southern clime
He migrates to survive.

Oh where would the Martini be
If he hadn’t flown bye.
Maybe with ole James Bond
in Scotland or about to die.

Only with fortitude did
the Grey Goose make plain
that the Martini has won.
Lording to everyone’s acclaim.

The Grey Goose flies over the wetlands,
endangered by the years.
So lets drink to Grey Goose
with laughter and with tears.

The Grey Goose flew over the water
with a silver chalice in his beak.
He knew he was the inspiration
for a drink served both cold and neat.

Bill Osmundsen


Creating a tribute to Max Yasgur, for the 50th Anniversary of the Woodstock Folk Festival


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Max Yasgur ‘Life  Bronze Sculpture’ Study by Bill Osmundsen



In 1969 Dairy Farmer Max Yasgur hosted the famed Woodstock Folk Festival.



In August of 2019, the ‘Festival’ will celebrate it’s 50th Anniversary.




I made my study from a dozen or more photographs and a video I saw of Max creating one image from this informative composite. Here, I drew my own hand to put it in proper perspective.


Hands can be as expressive as your face.  They are a key part in telling Max’s story.


A Pipe was an ever present prop for Max, so I had to consider that as well.
I’ve been a pipe smoker, since before this famous festival, but didn’t have one at my studio, so I shot a selfee of my hand with a small can and pencil to double for a pipe.

I just started sketching on the back of a full sized sheet of watercolor paper.
Had something on the front which I wasn’t going to use and didn’t want to waste the sheet.


Using Watercolor Pencil to draw and it’s solubility for a wash, I started to see Max on the page and began to develop a background. I want to see the statue of Max, walking in his pasture, with his ever present pipe greeting visitors, at the ‘Bethel Woods Center for the Arts’ flashing the ‘Peace Sign’. (Bethel Woods is the original site of the Woodstock Folk Festival. Bet you thought it was in Woodstock.)


It can be somewhat difficult  just to imagine a person and their pose
and place them in a location you haven’t seen.  In addition you have to
think of your subject as a bronze statue and about translating it into                                  3-dimensions;- all the while making a true likeness.


I feel I have achieved some success  with this first study.
My next step will be to sculpt a maquette 20″ – 30″ in clay.
I’ll move on to the rest of the figure.  I don’t visualize much
of a base, I would like Max to walking his fields like farmers
are apt to do.

Bill Osmundsen
Portsmouth, NH
Jan. 25, 2016




‘Privateer’ on View at Down Under Art Studio and at Auction on e-bay


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‘Privateer’ Copper Repousse by William Barth Osmundsen 1996

Almost twenty years ago now, while building my studio in New Hampshire I thought I might enter my first NH Percent for Art Contest.  It was at the end of the year in 95 and I put three pen n ink drawings together and a proposal for 3 Vanes to adorn the cupolas of a mamouth liquor store which would be located in North Hampton, NH on I-95 N.

New Hampshire is one of the states which has state liquor stores and this is a million dollar a year proposition since they discount the wine and liquor and draw customers from the surrounding states.  The Hampton location is easy access from Mass. and Maine.  Since the cupolas were some 60 feet off the tarmac the weathervanes had to be particularly big.  Flanking the ‘Privateer’ would be a sun motif ‘Sun Rising’ and a moon ‘Crescent Moon’ each disc or basic sun-moon shape would be 3 ft. in diameter.  The ship about 5 1/2 ft. high and 6 ft. long overall.  So I was putting hundreds of pounds of copper up in the air which would spin endlessly for every wind change in a seacoast environments.  If your familiar with New England’s seacoast you know the weather is ever changing and can be pretty fierce at times.

I was new to making weathervanes so this project demanded plenty of study.  The best way to turn a vane is an inverted copper sleeve over a fixed stainless bar, the top of which is cupped and allowing a ballbaring to sit atop of the post.  The post (stainless rod) goes through the roof top of   of the cupola and is set all the way down (6 or more ft.) to the floor of the cupola.  We had this done with each of the vanes.  It took a crane to later set each of the weathervanes in place.

The ‘Repousse’ process was also new to me.  We had been casting bronze by that time but that was a horse of a different color.  I went back to research Bartholdi’s Statue of Liberty.  You might just think it’s a cast bronze but actually it’s only copper sheet about 3/32 of an inch thick that was hammered over wooden and plaster forms.  The interior armature was designed by Eiffel who of course was famous for the Eiffel Tower. Interestingly enough in 1986, when the Statue of Liberty was restored, by a group in Paterson, NJ, I had talked with that studio and was schedule to go down and see their process. I lived in Allendale, NJ only a short distance away, unfortunately we had several conflicting events and I never made it but boy, I had wished I had, when it came to this job.