By Charles Austin
Photos by Gissele Austin

Pat Solomon is 8O-something, but she’s no old woman Her work area at the front of her shop, Solbrook, on Magnolia near Cahuenga, is strewn with photographs of friends and the famous (sometimes they’re both). In addition to photographs are many charity-related paraphernalia including awards and requests for donations – mainly the latter.

Solbrook is easily spotted from the street by the numerous paintings of celebrities and legends displayed on the sidewalk: Sinatra, Madonna, Liz, Michael, etc. When you go to Tower Records or the Wherehouse, there is a very good chance that the giant CD covers (we used to call them albums) on the walls were done by one of the freelance artists who work for Pat.

Started by Pat and her late husband, Solbrook has been at the same location since 1955, doing work for record companies for the last twenty years. ‘We do banners, neon, props, whatever… anything that pertains to the record industry or the entertainment industry” she says. She has been involved with the Grammys for thirty-five years.

“And then we do the private work for people. The private commissions are the ones that are the greatest because out of that I control the profit… every time we have a chance I like to share the money and I certainly like to keep it around North Hollywood when I can… anything that I can circulate to the people. That was a vow that I made.”

Indeed, when I was in her shop there was a stack by her desk roughly six inches high of requests for charitable donations; many will receive money from Pat, among them her two favorites are New Horizons for the Retarded and the Valley Community Clinic.

Other beneficiaries have included the Exceptional Children’s Foundation, the Red Cross, Children of the Night, United Negro College Fund, Canine Companions, the Mouth and Foot Painting Artists. The list goes on.

“The money that I make I’m allowed to do with what I want. I take very little back for myself,” she says. “Every painting that’s sold in my gallery, a donation goes to a charity.”

The charities win and Pat’s gallery customers win. Her artists are “… always available. You bring in a picture you want, your choice, any size. They make anything, anything you want.

“I don’t care for the publicity, but I like my people to be exposed when they can be.” She means it. It’s not about her any longer.

The source of Pat’s altruism is surprising when you hear her recall that vow she made: “I found out that of all the people that had worked for me, there were very few with morals… I became very hostile… so I just said how can I get rid of this anger and still do something? So what I did was actually decide that I was gonna take the charities that I know are non-profit and needed, really needed the help, and devoted myself.

“I just got what they call a finder’s fee for recommending somebody to where I live. I didn’t do a thing to earn it, so I donated the amount to charity… I’m not a martyr,” says Pat, “it’s just I feel good when I’m giving.”