Boundless; Art and the Expansive Eye

BAKER SCHORR FINE ART MODERN AND CONTEMPORARY

Boundless Art and the Expansive Eye

BAKER SCHORR FINE ART MODERN AND CONTEMPORARY

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BAKER SCHORR FINE ART MODERN AND CONTEMPORARY

Boundless Art and the Expansive Eye 1

Boundless Art and the Expansive Eye “The world of reality has its limits; the world of imagination is boundless.”

–Jean-Jacques Rousseau

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eality has been sobering lately. Navigating the last year or two, for all of us, has required imagination. Never have I been more grateful for the life-giving, perspective-broadening world of art.

Historically, art can be found at the forefront of expansive thinking. From the turn of the century to present day there isn’t an artist in this catalogue who hasn’t pushed the limits of creative expression and wrestled to visualize new ideas and practices. Each new art movement builds on the one before it and stretches the viewer to see.

In the boundless expanse of West Texas we can see a long way. It was certainly an expansive idea for me to embrace my dream and build a gallery here. I have been overwhelmed by your support and interest the last three years. So many of you have found your way regularly to BSFA for openings and events. A number of you stop by for peaceful respites and interesting conversation. Some of you in other states and cities make me a resource for art of the highest quality. Many of you have added to your collections and are living with great art. It gives me such pleasure to be part of that spark of connection between art and viewer!

For those of you who are new to Baker Schorr, our inventory features twentieth century modern art, with a focus on post-war American abstraction; and contemporary art, including both twentieth century works and works by current practicing artists.

Our collection also includes nineteenth century American and European paintings.

Art is life-giving. The possibilities are boundless.

I hope you will be open to all that Baker Schorr Fine Art has to offer this year and may you take to heart these words by Johann Wolfgang von Goethe:

“One should hear a little music, read a little poetry, and see a fine picture everyday of his life, in order that worldly cares may not obliterate the sense of beautiful which God has implanted in the human soul. ”

Kathryn Schorr Baker Schorr Fine Art, Midland, Texas October, 2021

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Modern The Modern Art movement emerged in 1872 with the emphasis on color, light and blurred brushstrokes of Impressionism. French painters like Monet, Degas and Renoir were at the forefront of this new era when artists were reinterpreting and challenging the rules of realistic academic painting.

The Modern art genre included several major movements including Post-impressionism, Fauvism, Expressionism, Cubism, Surrealism, and by the middle of the twentieth century, Abstract Expressionism. Abstract expressionists abandoned figurative styles in favor of an emphasis on color, form, composition, emotion, and the creative process.

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ecognized as an important modernist, Karl Knaths applied his system of color theory to his paintings, which were highly Cubist in style. He was a favorite of patron Duncan Phillips (Phillips Collection, Washington, D.C.), who purchased the first painting that Knaths sold in 1926, as well as many subsequent works.

Originally from Eau Claire, Wisconsin, Knaths lived in Provincetown, Massachusetts from 1919 until his death in 1971. He was one of the first Americans whose work found its way into Albert Gallatin’s Gallery of Living Art and was affiliated with the American Abstract Artists. He exhibited in New York to positive reviews and benefitted from the valuable support of Duncan Phillips, who not only purchased his paintings, but invited him frequently to lecture at the Phillips Museum. In October 1945, Knaths exhibited in a group show at the Paul Rosenberg Gallery. The following January, he had the first of twenty-two solo exhibitions—almost one each year—until his death twenty-five years later.

Knaths was one of the most theoretically-inclined painters of his generation. He worked out intricate charts for color and musical ratios, which he used to determine directional lines and proportions in his paintings.

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Karl Knaths American, 1891-1978

ONE TULIP Oil on canvas, 1958 24 x 30 inches Provenance: A Private Collection: 33 East 70th Street, New York Paul Rosenberg & Co., New York, 1958

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Marie Marevna Russian, 1892-1984

F LO R A L ST I L L L I F E Oil on canvas 24 x 20 inches Signed lower right Provenance: Christie’s New York, Sale 2716, June 18, 2013, Lot 37 The Collection of a New York Gentleman

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Louis Valtat French, 1869-1952

VAS E D E F L EU R S Gouache on brown paper laid down on card, 8 1/8 x 6 7/8 inches Signed lower left Provenance: William Weston Gallery, New York Sale, Sotheby’s, London, Feb. 21, 1990, lot 222

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Jane Piper

American, 1916-1991

TA B L E F U L L O F F LO W E R S Oil on canvas, 1982 48 x 71 1/2 inches Signed and dated lower left Provenance: Private Collection, New Jersey

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Beatrice Mandelman American, 1912-1998

SPRING Acrylic on canvas, c. 1970s 36 x 24 inches Signed lower right Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico This work is accompanied by a certificate of authenticity issued by the Mandelman-Ribak Collection

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Larry Zox

American, 1936-2006

YE L LO W Oil on canvas, 1963 50 x 50 inches Signed verso Provenance: Gift from the artist Private Florida Collection

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André Cottavoz French, 1922-2012

L A RU E Oil on canvas 4 1/2 x 9 1/2 inches Framed: 12 x 17 inches Provenance: Acquired directly from the Artist Private Collection of Michael Rosenhaft, patron of the artist Descended in the family

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Beatrice Mandelman American, 1912-1998

C E L E B R AT I O N S E R I E S Oil on canvas, 1976 48 x 24 inches Signed lower right, titled and dated verso Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico This work is accompanied by a certificate of authenticity issued by the Mandelman-Ribak Collection

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Theodoros Stamos Greek/American, 1922-1997

Leonard Nelson American, 1912-1993

I N F I N IT Y F I E L D, ( L E F K A DA S E R I E S )

U NT IT L E D, 19 5 6

Acrylic on canvas, 1979 76 x 58 inches Framed: 78 1/2 x 58 inches Signed, titled and dated verso Provenance: Dorsky Galleries Ltd., New York Christie’s, New York, 22 February 1996, Lot 7 Private Collection Christie’s, New York, 15 March 2005, Lot 147 Acquired at the above sale by the previous owner

Oil on canvas 14 x 17 inches Signed and dated lower left Provenance: Gratz Gallery, Doylestown, Pennsylvania Private Collection, Pennsylvania

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John Little

American, 1907-1984

B LU E I M AG E

D RU M S

Acrylic on canvas, 1973 76 x 68 inches Provenance: The Estate of the Artist

Oil on canvas,1975 Oil on canvas, 38 x 76 inches Provenance: The Estate of the Artist

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Jack Roth

American, 1927-2004

U NT IT L E D Acrylic on paper , 1980 30 1/2 x 22 1/2 Signed lower right Provenace: Estate of the Artist

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Andrew Newell Wyeth American, 1917–2009

T H E D O R M E R W I N D O W, CU S H I N G , M A I N E Watercolor on paper, 1949 15 x 22 inches Framed: 30 x 37 inches Signed lower right Provenance: Private Collection, California M. Knoedler & Co., New York, 1949

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Adam Van Doren T E R R AC OT TA ST E P S : B ET H E S DA T E R R AC E , C E NT R A L PA R K , NYC , 2 0 0 2 Watercolor and pencil 21 1/2 x 14 1/2 (sight) Framed: 29 1/4 x 22 1/4 inches Signed: A Van Doren (lower right) Provenance: Private collection, New York Publication: White, Samuel G., Richard J. Boyle, Avis Berman, Adam Van Doren, Hudson Hills Press, 2006, illustrated plate 75.

Andre Cottavoz French, 1922-2012

L E M AT I N Á C A N N E S, 19 5 4 Oil on canvas 13 1/4 x 21 3/4 inches Framed: 21 1/2 x 30 1/4 inches Signed lower left Provenance: Acquired directly from the Artist Private Collection of Michael Rosenhaft, patron of the artist Descended in the family

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“Space, color and form…they work together to create the magical unity, the work of art.”

–John Little

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student of Hans Hofmann, Little explored the tension between space, form and color i n his work . This early 194 8 canvas conveys interlocking forms in a cubist composition. By the 1950s John Little’s style shifted to gestural abstraction (see pages 16 and 17).

Little maintained a close friendship with Jackson Pollack. The two had a joint exhibition at Guild Hall in 1955. Little’s work is inthe permanent collection of the Metropolitan Museum of Art in New York, among others.

John Little

American, 1907-1984

U NT IT L E D, 19 4 8 Oil on canvas 42 1/4 x 52 inches Signed and dated verso Provenance: The Estate of the Artist

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Wolf Kahn

American, 1927-2020

U NT IT L E D, 19 8 4 Oil on canvas 52 x 66 inches Signed lower center Provenance: Grace Borgenicht Gallery, New York Acquired by the present owner from above

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Sally Michel Avery American, 1902-2003

S P R I N G L A N D SC A P E Oil on canvasboard, 1980 22 x 28 inches Signed and dated lower left Provenance: The Artist Acquired by the present owner from above, circa 1980-85 Note: this work most likely depicts a landscape in the Catskills region of New York where Sally Michel Avery frequently spent time with her family.

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Robert Wood

British-American, 1889-1979

C LO U DY AUT U M N L A N D SC A P E Oil on canvas 25 x 30 inches Signed lower right Provenance: The Estate of Texas Governor John B. Connally, Houston, Texas Alterman Art Gallery, Houston, Texas

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Gustave Loiseau French, 1865-1935

L E C LO S D E M O N S I EU R JA N SO N 19 2 6 Oil on canvas, 1926 18 x 21 1/2 inches Framed: 27 1/2 x 31 inches Signed lower right

Francis Luis Mora American, 1874-1940

G R A N D FAT H E R Pencil on paper Estate of the artist, sketchbooks 4 1/2 x 5 1/2 inches Framed: 11 3/4 x 14 1/4 inches Provenance: Estate of the artist, his sketchbooks

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student of the Orientalist painter Benjamin Constant and French academic painter Jules Lefebre at the Académie Julian in Paris, Louis Abel-Truchet is hailed as a prominent figure of the teeming art world of Paris in the latter half of the 19th century and early 20th century.

From 1891 onward, the young AbelTruchet exhibited his work at various Salons, including the Salon d’Automne, the Salon des Humoristes (of which he was one of the founders), the Salon de la Société Nationale des Beaux-Arts, and the Salon des Artistes Français.

Though Abel-Truchet did many depictions of the Moulin Rouges, Folies Bergère and Cirque Médrano, his work reflected the liveliness of Paris’ streets and cafes without the harsh judgement or satire that his contemporary Toulouse-Lautrec often depicted.

Louis Abel-Truchet French 1857-1918

L E P R O M E N A D E , 19 10 Oil on panel Signed: Abel Truchet / 1910 (lower left) 10 1/2 x 13 5/8 inches Framed: 20 x 23 inches Exhibitions: Salon d’Automne (founder & treasurer) Société Nationale des Beaux-Arts La Société des Humoristes

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Hans Van de Bovenkamp

Dutch/American, b. 1938

CO N F LU E N C E M O D E L ( N E B R AS K A ) Stainless steel, 2011 37 inches high

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Jean Xceron

Greek/American, 1890-1967

F L EU R S Oil on canvas, 1932 15 x 18 inches Signed, titled and dated verso Provenance: The Collection of Litsa Tsitsera, New York

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n important Texas Abstractionist, Dorothy Hood was born in Bryan, Texas. Her life and work encompassed much of the twentieth century in Mexico and the United States where she was regarded as a pioneer for her use of intense color and daring techniques. She was a prolific painter who created many large-scale canvases.

Hood traveled to Mexico in 1941 after studies at the Rhode Island School of Design and Art Students League, New York City.

She became part of a circle of leading European and Mexican artists and writers. She eventually settled in Houston where she was a prominent instructor at the Museum School of the Museum of Fine Arts, Houston.

Dorothy Hood American, 1919-2000

L E AV I N G PA L E N Q U E Oil on Canvas, c. 1965 70 x 60 inches Signed upper left Provenance: Meredith Long & Co. (label verso) Private Collection, Houston, Texas

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Ward Lockwood American, 1894-1963

I M P R OV I SAT I O N Polymer on canvas, 1959 36 x 48 inches Signed lower right Provenance: The Estate of the Artist Kansas University, Lockwood Collection Private Collection Exhibited: University of Texas Art Museum, Austin, Texas, Ward Lockwood: A Retrospective Exhibition of Paintings, Prints and Drawings, October 1 - November 12, 1967

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Leonard Edmondson American, 1916–2002

UNTITLED Oil On Board, 1947 23 x 28 3/8 Inches Signed and dated lower right Provenance: Original label to San Francisco Museum Of Art, 1950

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Esphyr Slobodkina 1908-2002

U NT IT L E D, 19 8 5 Oil on Canvas 34 1/4 x 36 1/4 in.

Framed: 42 1⁄2 x 44 1⁄2 inches Provenance: Private Collection in Prague

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Charles Green Shaw American, 1892-1974

R H A P SO DY Oil on board, 1953 16 x 20 inches Signed, titled and dated verso Provenance: The Estate of the Artist to Charles Carpenter

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Andrew Dasburg American, 1887-1979

P U E B LO V I L L AG E Oil on canvas, 1925 24 x 30 inches Framed: 33 1⁄2 x 39 1⁄4 inches Signed lower right Provenance: H. V. Allison Galleries, New York Private Collection, Florida

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Irene Rice-Pereira American, 1902-1971

Primordial Blaze of the Absolute Oil on canvas, 56 x 50 inches Signed lower right Provenance: The Estate of Andre Zarre

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Carl Holty

American, 1900-1973

RED GOLD Oil on canvas, 1958 56 x 42 inches Signed lower right

Provenance: Graham Gallery, NYC (label verso) Artist Roy Medders. Martin Diamond, New Rochelle, NY. Exhibited: 1958 solo show at Graham. Framed poster announcing that exhibition included in this sale.

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Laura Coombs Hills American, 1859-1952

Z I N N I AS A N D STO C K Pastel on Paper laid down on board, c. 1935 28 3/4 x 23 5/8 inches Signed lower right Provenance: Doll & Richards, Inc., Boston, Massachusetts Childs Gallery, Boston, Massachusetts Byron Radacker, Portsmouth, New Hampshire Hirschl & Adler Galleries, Inc., New York, February 1992 Private collection, acquired from the above, April 1994

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Laura Coombs Hills American, 1859-1952

P O P P I E S I N A C L E A R VAS E Pastel, 1928 21 1/4 x 17 1/4 inches 29.5 x 25.5 inches framed Signed upper left Provenance: Vose Gallery and Lepore Fine Arts (labels verso.)

Exhibited: Copley Gallery, 1928

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f German-born Wolf Kahn, art historian and curator William Agee relates, “He suffered through the Nazi horrors until he escaped as a refugee... and got to America in 1940 as a teenager who had literally been given a new life. It is little wonder then that he believes so deeply that painting must celebrate art and, more than anything, life itself.”

Known to balance his color palette with unmatched finesse, Wolf Kahn’s paintings have have a life-giving luminosity unsurpassed by other artists. His well-balanced colorist technique has made him one of the most influential American artists of our generation.

A student of Hans Hofmann, Kahn forged a style that was both representational and Abstract Expressionistic.

Wolf Kahn

American, 1927-2020

A DVA N C I N G S H A D O W S Oil on canvas, 1984 36 x 44 inches Signed lower right Provenance: Jerald Melberg Gallery (label verso)

I N T E R I O R W IT H W O M A N AT TA B L E Oil on canvas 15 x 18 inches Signed on stretcher Provenance: Ann Ross Gallery, White Plains, New York (label verso)

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Pierre André Brouillet French, 1857-1914

T H E H A RV E ST Oil on canvas Signed: [illeg.] Brouillet lower right 21 1/2 x 28 1/2 inches Framed: 31 1/2 x 39 inches

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Howard Chandler Christy American, 1872-1952

O L D M I L L DA M , PAS S I N G S H O W E R S Oil on canvas, 1946 39 1/2 x 41 1/2 inches Signed and dated lower left Provenance: Private Collection, Coral Gables, Forida Estate of Dr. Arthur and Ruth Sokolof

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Jasper Francis Cropsey American, 1823-1900

H O O K M O U NTA I N , F R O M O S S I N I N G COV E O N T H E H U D SO N R I V E R Oil on canvas 12 1/4 x 20 inches Signed lower left

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Pierre Eugene Montezin French, 1874-1946

L E S J O UT E S A SA I NT- M A M M E S Oil on paper backed by canvas, 23 1/8 x 32 inches Signed lower left Provenance: Hammer Galleries, New York Exhibited: Lyon, Galerie Griffon, L’Aube du XX Siecle, June 1963 Cyril Klein-Montezin has confirmed that this is an original work by his great grand-father Pierre Eugene Montezin.

C The Marian Sulzberger Heiskell and Andrew Heiskell Collection

Gifford Beal American, 1879-1956

WAT E R FA L L , 19 0 9 Oil on canvas Signed and dated lower right: Gifford Beal 28 x 36 inches Framed: 37 x 44 inches Provenance: The Greenwich Gallery, Greenwich, Connecticut Private collection, New York

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Formento & Formento JESSIE III Archival pigment print 30 x 45 Framed 31 1/2 x 46 1/2 inches Circumstance Series Provenance: From the artist

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Ryan Painter Johnson American, b. 1993

‘ G O O S E C R E E K T R A I L’ O R R I V E R CU RTA I N Acrylic on canvas, 2020 48 x 30 inches Signed, titled and dated verso

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Contemporary Contemporary Art refers to art— painting, sculpture, photography, installation, performance, and video art—produced in current day. Many art historians consider the late 1960s (the end of Modern Art or Modernism) to be the starting point of the Contemporary Art genre. In reaction to the preceeding Modern Art movement, Pop Art emerged.

Pioneered by artists like Andy Warhol and Roy Lichtenstein, pop artists were interested in portraying mass culture. Other contemporary art movements include Photo Realism, Conceptualism, Minimalism, Performance Art, Installation Art, Earth Art, and Street Art.

Stephen Pace American, 1918-2010

E L EV E N W H I T E H O R S E S, 2 0 0 4 Oil on canvas Signed: PACE •04 (lower right) 48 x 72 inches Framed: 50 x 74 inches Provenance: Artist to George Schwartz, California

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Paul Burlin American, 1886-1969

YO UT H

B - 2 ( J OY )

Oil on canvas, 1963 80 x 70 inches Signed and dated ‘63 at lower right Provenance: The Estate of the Artist

Oil on canvas, 1957 40 x 50 inches Signed upper left Provenance: The Estate of the Artist

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Jane Piper

American 1916-1991

UNTITLED Oil on canvas 48 x 42 inches Signed lower right Provenance: Private Collection, New Jersey

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Sarkis Katchadourian American, 1887-1947

CALLA LILIES Oil on canvas Signed lower right, inscribed on verso, 33 Rue Bayen, Paris 25 3/4 x 19 3/4 inches Framed: 36 x 29 inches

Provenance: Estate of Rouben Zachary Mamoulian Neal Auction Company, Louisiana Purchase Sale, October 7, 2000, Lot 619 James Graham & Sons

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Ellen Heck American, b. 1983

K A R L A A N D Z O E 10/ 10 Woodcut and dry point, 2009 18 x 12 inches

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Simka Simkhovitch Russian American, 1893-1949

M OT H E R A N D C H I L D Etching Signed, dated, and numbered lower center: Simka Simkhovitch 1928, 7/30 Sight size: 8 1/2 x 3 3/4 inches Framed: 18 1/2 x 14 3/4 inches

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Hunt Slonem American, b. 1951

S I LV E R M I G R AT I O N ( BUT T E R F L I E S ) Oil on masonite, 2008 36 1⁄2 x 26 inches Signed and titled verso Provenance: Jean Albano Gallery, Chicago Private Collection

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Reginald Marsh American, 1898-1954

F I F T H AV E N U E ST R E ET SC E N E Maroger medium on board c. 1938 16 x 20 inches Framed: 21 1/2 x 25 1/2 inches’ Provenance: Art Students League, New York Chapellier Galleries, Inc., prior to 1987 The Estate of Mr. and Mrs. David Winterman

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Formento & Formento G I OVA N N A I , PA R I S, 2 0 13 Archival pigment print 40 x 60 inches Framed: 41 1/2 x 61 1/2 inches Je Suis Paris Provenance: From the artist

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Henri Charles Manguin French, 1874-1949

V I E W F R O M T H E T E R R AC E , 19 2 6 - 19 2 7 Oil on canvas Signed lower left: Manguin 21 3⁄4 x 18 1⁄4 inches Framed: 30 3⁄4 x 27 1⁄4 inches Provenance: Marcel Bernheim, Paris (acquired from the artist in February 1927) Private Collection, Paris

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André Derain French, 1880-1954

D E S I G N F O R D EC O R Gouache on paper 19 x 25 inches Stamped lower left Provenance: Galerie Lialowitsch, Basel Galerie Bargera, Cologne Annely Juda Fine Art, London Grosvenor Gallery, London Simon Capstick-Dale Fine Art, 2008

George Loftus Noyes American, 1864-1954

V I E W TO T H E S E I N E Oil on canvas laid down on masonite Signed lower right: G L Noyes 14 x 16 inches Framed: 22 x 24 inches Provenance: Bequeathed by artist to Dr. & Mrs. Donald S. Ewing (A letter accompanies the painting)

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Allen Tucker American, 1866-1939

FAU V I ST L A N D SC A P E , 19 16 Oil on canvas 25 x 30 inches Signed and dated lower right

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William Slaughter

American, 1923-2003

T E X AS B LU E B O N N ETS Oil on canvas, late 20th cent.

24 x 36 inches Signed lower right

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Cleve Gray

American, 1918-2004

Carl Holty

American, 1900-1973

T H E R E # 13

ST I L L L I F E W IT H H O U S E P L A NTS

Acrylic and sawdust on canvas, 1982 70 x 70 inches Signed, titled, dated and inscribed verso Provenance: Irving Luntz, Palm Beach, acquired directly from the artist By descent from the above to the present owner

Oil on masonite 36 x 48 inches Signed lower right Provenance: Property from the estate of Francis M. Bator, Massachusetts

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François Aubrun French, 1934-2009

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U NT IT L E D, 8 3 0

U NT IT L E D, 3 8 5

Oil on canvas, 1970 19 3/4 x 19 3/4 inches Signed verso Provenance: The Estate of the Artist

Oil on canvas, 1967 32 x 39 1/2 inches Signed verso Provenance: The Estate of the Artist

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U N T I T L E D, 19 6 1 Oil on canvas laid down on board 48 x 48 inches Signed and dated 1961 verso

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Fred Troller

Swiss/American, 1930-2002

U NT IT L E D, 19 6 1 Oil and mixed media on canvas, 1961 48 x 48 inches Signed and dated 1961 verso

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Abstract Expressionism describes a movement in American painting that flourished in New York City after World War II, also known as the New York School.

These artists used abstraction, often on largescale canvases, to convey emotional content.

Emphasizing the physical interaction of artist, paint and canvas, abstract expressionists conveyed meaning through the color, texture and application of the paint itself. Given the cultural climate of the time, the movement centered on unfettered artistic freedom and had resonance in many mediums including drawing and sculpture.

Within Abstract Expressionism were two broad groupings—Action painters, led by artists like Jackson Pollock and Willem de Kooning, who attacked their canvases with expressive gestural marks and brush strokes; and Color Field painters like Mark Rothko and Clyfford Still, whose work was characterized by large areas of flat color, sometimes evoking a meditative response from the viewer.

Jack Roth

American, 1927-2004

R O P E DA N C E R # 1 1 Acrylic on canvas, 1980 50 x 67 inches Signed and dated ‘80 at lower right, Signed and dated ‘80 verso Provenance: The Estate of the Artist

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Jack Roth

American, 1927-2004

Ray Parker

American, 1922 – 1990

D E E P ST RU C T U R E V I

U NT IT L E D, 19 6 3

Acrylic on canvas, 1978 55 x 42 inches Signed and dated ‘78 lower right, Signed, titled and dated ‘78 verso, Knoedler label (verso) Provenance: The Estate of the Artist

Acrylic on canvas 41 x 53 inches Signed and dated verso Provenance: Kootz Gallery, New York

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John Stephan American, 1906-1995

Opposite page:

A S LO W G R O W I N G P O E M

D I SC # 9

Oil on canvas, c. 1950’s 35 x 49 inches Exhibited in Italy; Italian “Artisto & Titolo” label on verso

Acrylic on Canvas, 1971 62 x 60 inches Signed, titled, dated ‘71 and estate stamped verso Provenance: The Estate of the Artist

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Josef Ongenae Belgian, 1921-1993

V I N A I , 19 6 3 Oil on masonite, 39 x 39 inches Signed and dated 1963 verso Provenance: Private Collection, Brussels, Belgium

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Victor Coleman Anderson American, 1882-1937

M O N K EY C I R CU S Oil on board 16 1/8 x 12 inches Signed lower right & titled on verso with artist’s address

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Cover image: Dorothy Hood, Leaving Palenque, c. 1965, see pg 32 Back cover: Marie Marevna, Floral Still Life, see pg 6 Inside cover, title page: Stephen Pace, Eleven White Horses, 2004, see pg 50-51 Page 3: Kathryn Baker Schorr at Baker Schorr Fine Art, photograph by Melissa Grimes Design by Lilla Hangay, Santa Fe, NM Printing: Capital Printing, Austin TX © Copyright 2021 All rights reserved. No portion of this catalog may be reproduced, stored in any form, of transmitted by any means, without written permission from Baker Schorr Fine Art. Kathryn Schorr, owner/director Audrey Grimes, gallery associate

Ally Village 200 Spring Park Drive, Suite 105 Midland, Texas 79705 d 432.687.1268 c 432.230.2042 info@bakerschorrfineart.com bakerschorrfineart.com

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