The Cincinnati Enquirer from Cincinnati, Ohio • Page 190

ADVERTISEMENT Highlights the Week in ADVERTISEMENT A new custom Conn three manual organ was recently installed in one of the largest churches in Hamilton, Ohio, Immanuel Baptist Church. Many months of planning and designina by the Schooley Piano Organ Co. went into the installation of the Conn 3 manual custom organ which includes the exclusive Conn electronic pipes which are installea on the left and right of the baptistry. The console is complete with setterboard, crescendo, chiff, chimes, bells and celestes. Pictured are Mrs.

Linda Gibbs, organist, Rev. Kenneth Paulson, pastor and Jack Schooley, owner. Jack Schooley has been specializing in church installations tor over 30 years and is the exclusive representative for Allen, Conn and Yamaha organs and is also one of the largest Yamaha piano representative in the U.S. Call tor tree church estimate. Institutional show rooms 8250 Vine at Galbraith Ra.

761.4000 BE 23 Beautiful custom draperies will add freshness to any decor. One of our decorators, Bob Adler or Patty O'Donnell (both shown above), will be most happy to visit your home and discuss ideas with you. Their professional expertise can help put everything together. We invite you to call us at 731-1021 for a free estimate of draperies, sheers, roller shades, and a wide variety of decorative shades. Dramatic top treatments (swags, cornices, valances, etc.) and custom bedspreads will complete the total look.

When it comes to windows, A- is the name to remember! SALE ON THE NEXT 30 DAYS Call now! A- One Custom Draperies, 6219 Montgomery Rd. 731-1021 The wonderful language of Paul Chidlaw By David Hunter Photographed by Terry Armor used to tell people, 'The first 50 years are the Now I say the first 60 years are the hardest. But I'm a better painter now than I was at 70, or even five years ago, because I've learned more, I understand more, and I use my tools better than I did before. I'm very excited about what I hope to paint next year. -Paul Chidlaw hen take Paul he him has Chidlaw to a a is visitor, large, likely near- artist to ly bare room in his Edgecliff studio and pull two chairs squarely into the middle of the floor.

There they will chat, surrounded only by his paintings. Dozens of them. They adorn the walls, easels and ledges, and stand several deep along the wall and in corners. Most appear to be finished, but the artist says they are not. They have been moved from his painting room to be framed and to await final touches, reworking, or total overhaul.

At any given time, he will be actively working on at least 30 paintings. The remainder wait here for Chidlaw, seated in the middle of the room, to study and pronounce judgement upon. Paul Chidlaw is 80, but he is a sturdy man. Face framed by long white hair and flowing beard, he suggests an earthly image of God the Father, seated here as some of his students remember him, amid creations-in-progress that dance with the flair of his color and the dash of his brush. His studio occupies three second-floor rooms of an old stone coach house on Xavier University's Edgecliff campus.

Just across the drive is the elegant manor house, now a museum. A three-week exhibition of his paintings was held there recently in honor of his 80th birthday and proved so popular it was extended to six weeks. Many works were sold, some for well beyond $1,000. His fans say this is merely a token of the recognition he deserves. Chidlaw recalls the opening enthusiastically, but for reasons other than revenue.

"On my birthday, they had a surprise party for me over there and 500 people showed up. They had a birthday cake that was four feet long and four feet wide and had 80 candles on it. I wish I'd had a movie made of it. Yes, sir. Five hundred people turned out for a damned artist's birthday.

Now what do you think of that?" Asked whether increased exposure in Chicago or New York might not be more profitable, Chidlaw replied swiftly and surely. "My paintings probably would bring four or five times as much there, but I don't really need to make all that money. More importantly, it would take too much time to get involved with all that. retired in 1963 from teaching at the Cincinnati Art Academy and now no longer takes private students. Every day, he' drives from his Hyde Park home to Edgecliff, to paint.

Evenings, he frames his work with an assistant. He avoids interruption if he can. "What I think is important right now," he says, "is to produce as long as I am able to produce." Then, he laughs. Continued.