Watson-FitzGerald Studios, LLCwflogo2.gif




Watson-FitzGerald Studios, LLC
"Bronze, Constructions and Other Media Sculpture, Clayware, Fine Art Crafts, Jewelry, Icons and Paintings from the early 1900's to Present Day"

James FitzGerald gem_red_thm.gif Jared FitzGerald gem_red_thm.gif Miro FitzGerald
Jennifer Anna Perkins gem_red_thm.gif Margaret Tomkins gem_red_thm.gif Paulina Jean Watson
William S. Watson

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Copyright and Terms of Use

The information provided is expressly for the sale of assemblage, paintings, sculpture, clay art and prints created by the above listed artists. This site is upgraded bi-monthly to include current and historical information and art images. To learn more about this site or to contact one of the artists listed please use our email which is highlighted on the bottom right side of this page. All family members, as indicated on their respective resumés, are represented by the Watson-FitzGerald Studios, located at Sedona, Arizona. Since 1992 the Watson-FitzGerald Studios has designed and operated this website. All rights reserved.



gem_red_thm.gif copyright 1992 - 2009 ©

email: watsfitz@esedona. net




James FitzGerald

View clockwise beginning with the left top image-Jim FitzGerald's sculpture and paintings can be purchased through the Martin-Zambito Fine Art Gallery, Seattle, WA
Martin-Zambito Fine Art

info@martin-zambito.com

  1. Untitled(1947)
    23" x 14 ½"
    Tempera on Wood

  2. Kinetic Sculpture (1970)
    17¾" x 24" x 12"
    Bronze

  3. Carnival (1968)
    17 ½" x 11" x 11"
    Bronze

  4. War Machine(1968)
    Bronze

  5. Untitled(1947)
    12 ¾" x 8 ¾"
    Tempera on Wood

  6. Distant Landscape(1946)
    12" x 17 ½"
    Oil & Tempera on Wood

JF166.jpg JF195.jpg JF257.jpg JF130.jpg JF260.JPG JF203.jpg

JFphoto.jpg James FitzGerald: Fine Arts Painter and Sculptor; 1910 - 1973

Background: University of Washington, Bachelor of Architecture 1935; Kansas City Art Institute; Colorado Springs Fine Arts Center 1937-1938; Carnegie Graduate Fellowship, Yale University 1938-1939

Instructor in Art: Kansas City Art Institute, Colorado Springs Fine Arts Center and Spokane Arts Center

First Sculptural Commission: Concrete relief at eastern entrance of tunnel for the Lake Washington floating bridge, Seattle, WA, 1945

One Person Exhibitions: Seattle Art Museum, Seattle, WA, San Francisco Art Museum and Santa Barbara Museum of Art, CA, also included in numerous group painting exhibitions in major museums in the United States 1946-1954 and the Catherine Viviano Gallery,(sculpture), New York, NY 1969

Major Sculptural Commissions: US Federal Building, Ogden, UT; Princeton University, Princeton, NJ; Seattle Public Library, Seattle, WA; Washington State University; Western Washington State University; WA; State House Library, Olympia, WA

In 1959, fire destroyed Jim's home and Seattle, WA studio. He lost a large amount of his earlier work and because of the fire his involvement in sculpture became more dominant because of its durability. Until his untimely death, James FitzGerald was among the leading modernist sculptors of the Pacific Northwest. A Seattle, WA native, he exhibited widely in major American museums. A pioneer in large-scale public, private and religious sculptural commissions; FitzGerald also had a broad grasp of media ranging from pottery, mosaic, stained glass and bronze fountains to lost wax bronze. FitzGerald began his career as a painter, first studying with Orozco in Mexico, in the 1930's, working collaboratively on WPA funded murals in Colorado. In 1939, his interests turned to architecture. After studying briefly at Yale's Architecture School, he returned west to execute his first public commission, the Portal of the North Pacific, a cement relief sculpture near Mercer Island Floating Bridge tunnel entry in Seattle, WA. Called an architect of environmental mood; FitzGerald's narrative and smaller bronze sculptures addressed explicitly the politically charged context of the 1960's and 1970"s and risked formal chaos in favor of an obsessive piling of images in an effort to evoke a sense of disorientation and alarm in the viewer. Upon close inspection, however, his work operates as a symbolic residue of culture created out of a commanding skill and determined vision.

Married artist Margaret Tomkins 1939
Established own bronze foundry in Seattle, WA 1964
James FitzGerald's also had a studio located at Lopez Island, WA

For more information and to view James FitzGerald sculpture go to these sites:

Martin-Zambito Gallery
martin-zambito.com

Seattle Art Museum
seattleartmuseum.org Tacoma Art Museum
tacomaartmuseum.org Henry Art Gallery
henryart.org

Western Washington University

westerngallery/sculpture.shtml

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Jared FitzGerald
    View clockwise beginning with the left top image

  1. Winter to Spring
    26" x 34"
    Code No: 001
    Oil on Canvas

  2. Ultramarine
    26" x 34"
    Code No: 005
    Oil on Canvas

  3. Red Sword
    26" x 34"
    Code No: 003
    Oil on Canvas
jar005.JPG jar001.JPG jar003.JPG

jaredphoto.jpg
Jared FitzGerald: Fine Arts Painter

Background: New York Academy of Fine Art, New York, NY; University of Washington, Seattle, WA; Florida State University, FL; University of Colorado, Colorado Springs, CO

Selected Exhibitions: Seattle Art Museum, Seattle, WA, Watercolors1971; Institute for Contemporary Art, Boston, MA; Seattle Art Museum, Seattle, WA 1974; Rene Block Gallery, New York, NY; Louisiana Museum, Denmark; Akademie Der Kunste, Berlin, Germany, Documenta 1976; Robert Miller, Inaugural Exhibition: Jared FitzGerald; 112 Greene Street, New York, NY,Curated by Jean Dupuys 1977; Robert Miller, New York, NY 1981; Tananbaum Vanderwoude, New York, NY 1983; The Red Studio, New York, NY; The Hudson Street Show, New York, NY 1984; Parker Bratten Gallery, New York,Curated by Richard Bosman 1987; Traver Sutton Gallery, Seattle, WA 1988;William Traver Gallery, Seattle, WA 1989 - 1991; Barrett House, New York, NY, New Directions. Curated by Richard Armstrong; Cavin-Morris, New York, NY Summer Invitational; Cavin-Morris, Songs for the Numinous: Print Show 1991; Artists Space, Four Artist. Curated by Carlos Solana, New York, NY 1992; Artists Space, Night of 1,000 Drawings, New York, NY; FitzGerald Studio, Aesop's Fables: Prints, 1993 - 1994; FitzGerald Studio, Creation: Prints and Southwest Landscapes Aesop's Fables: Prints, New York, NY; John McEnroe Gallery, New York, NY 1995

Selected Collections: Seattle Art Museum, Seattle, WA; Gregory Amenoff, Lawrence Gazlay, Doris Hoffman, Paul and Natalia Lamb, Carlos Gutierrez-Solana, Nathan Kernan, Mark Shilen and Spencer Throckmorton

Married to artist Jennifer Anna Perkins

Jared FitzGerald has working studios in Manhattan, New York, NY and Medanales, New Mexico

email: jaredstudios@nyc.rr.com>


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Miro FitzGerald
    View clockwise beginning with the left top image

  1. Equinox (1992)
    58" x 96"
    Acrylic on Canvas

  2. Chaco I
    49" x 57"
    Acrylic on Canvas

  3. Flux (1996)
    36" x 48"
    Acrylic on Canvas

  4. Madera
    36" x 48"
    Acrylic on Canvas

  5. Aqua Vertigo
    36" x 48"
    Acrylic on Canvas

  6. Assemblance
    48" x 56"
    Acrylic on Canvas

Chaco I.jpg
M048.jpg miro003.JPG M032.jpg M045.jpg M031.jpg
Miro5.jpg
Miro FitzGerald: Fine Arts Painter and Sculptor; Born: Seattle, WA 1946

Background: University of Washington, Bachelor of Fine Art (BFA) 1969; San Francisco Art Institute, 1965; University of Washington, Master of Fine Arts (MFA) 1974

One Person Exhibitions: Polly Friedlander Gallery, Seattle, WA 1975 - 1977; Volcano Arts Center, Hilo, Hawaii 1978; Foster White Gallery, Seattle, WA 1979

Full Fellowships: Yale School of Art, Norfolk, CN 1967; Skowhegan School of Painting and Sculpture, Skowhegan, MA 1969; Brooklyn Museum Max Beckmann Fellowship, Brooklyn, NY 1969 - 1970; Artist-in-Residence, MacDowell Colony, Petersborough, NH 1971

Exhibitions: Seattle Art Pavilion, Seattle, WA 1967; Artists Private Studio Exhibition, Seattle, WA 1967;"Yale Art Fellows Exhibition", Yale School of Art, Norfolk, CN 1967; "Invitational Exhibition" Maine Art Gallery, Wiscassett, MA 1969; Hicks Street Gallery, New York, NY 1970; "Survivors 72", "Five Women Artists", Milo Johnstone Gallery, Seattle, WA 1972; Henry Art Gallery, University of Washington, Seattle, WA 1972;Studio Co-Op Exhibition 1973; Henry Art Gallery, "Master Thesis Exhibition", University of Washington, Seattle, WA 1974; "Annual Painting Exhibition", Tacoma Art Museum, Tacoma, WA 1975; "Recent Paintings by Messhardt and FitzGerald", Polly Friedlander Gallery, Seattle, WA 1976; "West Coast National Drawing Exhibition", University of Washington, Seattle, WA 1976; Seattle Art Pavillion, CETA Exhibition, Seattle, WA 1976; Civic Center Visual Arts Invitational, Seattle, WA 1976; Honolulu Academy of Art, Honolulu, Hawaii 1978; Factory of Visual Arts Faculty Exhibition, Evergreen State College, Olympia, WA 1979; "Sculpture Invitational", Foster White Gallery, Seattle, WA 1979; Lower East Side Artists Invitational Group Exhibition, New York, NY 1982; Bellevue Art Museum, Bellevue, WA 1987; "Sculptor James FitzGerald Retrospective", William Traver Gallery, Seattle, WA 1988; "Eyes on Public Art", Seattle Arts Commission Public Art 21st Anniversary Retrospective Exhibition, Seattle, WA 1994; Alexandria Museum of Art, 14th Annual Invitational, Alexandria, LA 1995; Seattle Art Museum Rental and Sales Gallery, Seattle, WA 1995; Washington State Arts Commission "Art in Public Places and Percent for Art Program", 1996 - 2004; Invitational Exhibition: "Variations in Abstraction" Bank of America Tower, Seattle, WA 2003; Central Adirondack Arts Show, Adirondack, New York 2003; 23rd Annual Faber Birren National Color Award Show, Stamford, CT 2003; Sedona, AZ: Heritage Museum 2005; L'Auberge de Sedona Artisans Brunch 2005; Village of Oak Creek Association (VOCA) Invitational Exhibition, 2005 - 2006; L'Auberge de Sedona Visual Artists Coalition (SVAC) Exhibition 2006; SVAC Open Studios Exhibition 2006; Sedona Art Center Gallery 928-282-3865 - 2004 to Present; Kinion Fine Art Gallery,Sedona AZ 928-203-0234 - 2006 to 2010

Commissions: CETA "Artist in the City", two paintings for public installation: Seattle Public Library and the Seattle Arts Commission 1975; Seattle Walls Project, Seattle Arts Commission, Arcade Building (75' X 75') 1976; Ballard Historical District, Seattle Arts Commission, Inlaid Marble Paving Unit (60" X 72") 1977; King County Arts Commission, Bellevue District Court House 1982; Tonasket Elementary School, Tonasket, WA 1994; South Seattle Community College, Seattle, WA 1995; Medical Lake School District, WA 1995; Hallett Elementary School, Fairbanks, AK 1996

Publication Documenta: "Birth" 16mm film (8 minutes) Natural Childbirth 1973; La Mamalle Publication, West Coast Art, Photo Esay 1975; Cable TV, New York City, "Artists Interview" Invitational 1982

Married artist William S. Watson 1990
Assistant Director, Sedona Art Center, Sedona, AZ 2005 - 2007

Watson-FitzGerald Studios are located in Sedona, AZ
Telephone: 928-284-2658
FAX Number: 928-284-2658

For more information go to these sites:

Sedona Art Center Gallery
sedonaartscenter

For More Information on Miro's Art: Miro FitzGerald


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Jennifer Anna Perkins
    View clockwise beginning with the left top image

  1. Vladimir Mother of God (1997)
    11" x 14"
    Code No: 001
    Tempera & Gold Leaf on Wood

  2. Not Made by Hands (1998)
    8 ½" x 10"
    Code No: 002
    Tempera & Gold Leaf on Wood

  3. The Meeting of Our Lord (1998)
    9" x 12 ½"
    Code No: 003
    Tempera & Gold Leaf on Wood
jap002.JPG jap001.JPGjap003.JPG

japphoto.jpgJennifer Anna Perkins: Fine Arts Painter and Iconographer

Married to artist Jared FitzGerald

Jennifer Anna Perkins has working studios in Manhattan, New York, NY and Medanales, New Mexico

email: jaredstudios@nyc.rr.com>








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Margaret Tomkins

View clockwise beginning with the left top image-Margaret Tomkins paintings can be purchased through the Martin-Zambito Fine Art Gallery, Seattle, WA
Martin-Zambito Fine Art

info@martin-zambito.com


  1. Luner Light (1945)
    11" x 15"
    Code No: 187
    Tempera on Wood

  2. Black As White (1956)
    12 ¾" x 14 ¾"
    Code No: 232
    Acrylic on Glass and Paper

  3. Edge (1976)
    33" x18"
    Acrylic on Canvas

  4. Carnival (1968)
    54" x 77"
    Acrylic on canvas

  5. Merge (1987)
    18 ½" x 25 ½"
    Acrylic on Wood

  6. Untitled (1971)
    80 ½" x 116"
    Acrylic on Canvas

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mtfphoto.jpg Margaret Tomkins: Fine Arts Painter; Born: Los Angeles, CA 1916 - 2002

Background: University of California, Bachelor of Fine Arts (B.F.A.) 1938; Master of Fine Arts (M.F.A.) 1939

Instructor in Art: Assistant professor of art, University of Washington 1949; Guest professor of art, University of Washington 1962, 1972; Spokane Art Center 1941 - 1942

One Person Exhibitions: Seattle Art Museum, Seattle, WA 1941; Seattle Art Museum, Seattle, WA and California Palace of the Legion of Honor, San Francisco, CA 1947;Artists Gallery, Seattle WA 1958; Henry Gallery, University of Washington, Seattle, WA 1962; Scott Galleries, Seattle, WA 1964; Gordon Woodside Gallery, Seattle, WA 1967; Richard White Gallery, Seattle, WA 1970; Polly Friedlander Gallery, Seattle, WA 1977; Washington State University, Pullman, WA 1977; Evergreen State College Art Gallery, Olympia and Whatcom Museum of Art, Bellingham, WA 1978; Diane Gilson Gallery, Seattle, WA 1979; Bellevue Art Museum, Seattle and Cheney Cowles Memorial Museum, Spokane, WA 1982; Foster White Galleries, Seattle, WA 1995 also included in numerous group shows 1941 - 1988.

A pioneering abstract painter, for sixty years, Margaret Tomkins was a strong presence in the non-objective art tradition of the northwest and maintained an important place in American modernist abstraction. Tomkin's surrealistic biomorphism of the 1940's transferred creative internal energies into organic, visceral abstractions based on natural forms. A direction she continued to explore through the 1950's. In 1959, Tomkins shifted to abstraction in predominatly blacks, grays and whites. Through the 1960's and 1970's, her work reflected her responses to the environment and personal experiences, including travel to Europe and South America, that initiated the development of vibrantly colored organic abstractions. Following the death of her husband in 1973, Tomkins moved permanently to Lopez Island, San Juan Islands, WA., where she embarked on large, more softly geometricized paintings in nearly translucent acrylic color. Having a strong connection to New York throughout her career, her paintings related to an early phase of abstract expressionism in its evocation of landscape through atmospheric light and color. Tomkin's work of the last decade, following a stroke, was figurative and abstract with a myriad of colors.

Married artist James FitzGerald 1940

For more information on Margaret Tomkins and to view her paintings go to the following galleries:

Martin-Zambito Gallery
martin-zambito.com

Seattle Art Museum
seattleartmuseum.org

Tacoma Art Museum
tacomaartmuseum.org

Henry Art Gallery
henryart.org


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William S. Watson

    View clockwise beginning with the left top image - prices shown do not include shipping or handling

  1. Twilight for Tojo (1992)
    23" x 17 ¼" x 3 ¼"
    Construction
  2. Too Hot To Handle(1991)
    48" x 36"
    Acrylic & Collage on Canvas
  3. Mardi-Gras Foretoken(1990)
    36" x 48"
    Acrylic & Collage on Canvas
  4. Holy Smoke
    20" x 16"
    Acrylic and Collage on Paper
  5. Realistic Dreams(1990)
    36" x 48"
    Acrylic & Collage on Canvas
  6. One Stop(1999)
    16" x 20"
    Oil and Collage on Board
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wswphoto.jpg William S. Watson: Fine Arts Painter, Assemblage-Construction Sculptor and Clay-Ceramics Artist; Born: Portland, OR 1935.

Background: Fayetteville Technical Institute, Fayetteville, NC 1977 - 1978; Orange Coast College, Costa Mesa, CA 1978; California State University, San Luis Obispo, CA 1978 - 1980

Exhibitions: "Nuclear Visions" Oregon Coast Council for the Arts 1987; "Washington State Exhibition" The Center on Contemporary Art (COCA) 1989; The Arial Gallery, Soho, NY 1991; Public Spaces Program, The Funding Center, Alexandria,VA 1992; The American Society of Interior Designers, Washington D.C. 1992; Invitational Painting and Sculpture Exhibition, Lopez Island Library, Lopez Island, San Juan Islands, WA 1992; "Personal Patterns", Agora Gallery, Soho, NY 1992; Art Collection CD "Virtuosity", New York, NY 1995 - 1996; Grays Harbor College, Aberdeen, WA 1997; Central Adirondack Arts Show, Adirondack, New York 2003; Sedona, AZ: Village of Oak Creek (VOCA) Invitational Exhibition 2005 - 2006; L'Auberge de Sedona Visual Artists Coalition (SVAC) Exhibition 2006; SVAC Open Studios Exhibition 2006; Sedona AZ Art Center Gallery 928-282-3865 - 2004 to 2010; The Hillside Clay Pigeon Gallery, Sedona AZ 2005 to 2009; Gallery Marjuli, Ocean Shores WA 360-289-2858 - 2006 to 2010; Kinion Fine Art Gallery, Sedona AZ - 2006 to 2010

Bill’s artistic background is unique, as he didn’t become an artist until late in life. Bill retired from the US Army after having served 24-years active service. His last 14-years in the U.S. Army was as a US Army Special Forces (Airborne) Green Beret. On 4 April 2001, at Fort Bragg, NC, after more than three decades of secrecy, the president of the United States, awarded the Presidential Citation (equivalent to America's second highest award for valor-the Distinguished Service Cross) to Bill and other military personnel who served with a Top Secret combat unit (MACVSOG) during the Vietnam War. While with the unit Bill commanded and led a small team (ST-Illinois) that conducted guerrilla operations behind enemy lines.

Having lived outside the Continental United States for more than 20-years, his completed works of art depict the colors and symbols associated with ethnic influences found only in Central American and Far Eastern cultures.

After his retirement, Bill, through the use of the GI Bill, completed his civilian studies. In 1980, although his college major had been Agriculture Science, his interest in art and art history, influenced his study and Bill became a self-taught artist. Though Bill is now retired from painting and working in clay he is presently in the process of publishing a book about his past.

Bill married artist Miro FitzGerald in 1990.
The Watson-FitzGerald Studios, LLC are located in Sedona, AZ
Telephone: 928-284-2658
FAX Number: 928-284-2658

For more information go to these sites:

Sedona Art Center Gallery
sedonaartscenter Kinion Fine Art Gallery
kinionfineartgallery


Home Page

The following Black Porcelain and Stoneware Ceramics are made by Wm. S. Watson
View the images clockwise beginning with the left top image - prices shown do not include shipping or handling


  1. Large to Small Tiles
    Hi-Fired Black Porcelain/Stoneware
  2. Life Sized Skulls
    Adult & Child
    All White; all Black or White w/ Black Interior Hi-Fired Porcelain/Stoneware Skulls with or without Gold (shown) or Black Luster Skull Caps
  3. Bowls (Mixing) Various Sizes
    Hi-Fired Black Porcelain/Stoneware w/ Red & Clear Glaze
  4. Cups & Bowls
    Various Shapes
    Hi-fired Black Porcelain/Stoneware
  5. Platters & Dishware
    Hi-Fired Black Porcelain/Stoneware
  6. Coasters
    Hi-Fired Black Porcelain/Stoneware w/ Red Spot Glaze
  7. Display at Sedona Art Center
    Hi-Fired Black Porcelain/Stoneware
  8. Skull & Un-Glazed Tiles w/ Watson-FitzGerald Studios, LLC Logo
    Hii-Fired Black Porcelain/Stoneware
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Paulina Jean WatsonPaulina2.jpg

Paulina Jean Watson has experience as a professional wildlife and portrait photographer and as an artist working in high fired porcelain/stoneware, hand built and wheel thrown ceramics. Born in Everux, France in 1960’s, Paulina, who is also Black Foot Indian, traveled with her family to Seattle, WA where she studied from 1976 to 1983 under master ceramist Edward Essex. “It was there I learned the patience and skill required to make clay an object of beauty and form. It was all I wanted to do.” Pulled into the corporate world for some years by necessity to support her own growing family, it was only a matter of time before Paulina returned to her great love of art and clay. At the invitation of Sedona painter and ceramic artist, William Watson, Paulina moved from Washington State to Sedona, Arizona with her eleven year old son and husband, wrought iron artist Tim Anderson, to apprentice with her father, Wm. ‘Bill’ Watson. Under his keen eye she learned extensive kiln use, building techniques and glazing and the complicated art of being a potter, acquiring her own unique style and work ethic. Greatly inspired by another well known Sedona ceramic artist Maggie Shipley, Maggie saw the gift in Paulina’s craft and took Paulina under wing to personally teach her, her classic designs, style and techniques. After two years as an apprentice to her father Paulina and her husband returned to Auburn, WA where she now has her studio and develops her own signature forms and designs.


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2:17 PM 5/15/1999

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