All Together Now: Spirit, Sensibility and Sight

ALL TOGETHER NOW: SPIRIT, SENSIBILITY, AND SIGHT

INTRODUCING

BAKER SCHORR FINE ART MODERN AND CONTEMPORARY

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ALL TOGETHER NOW: SPIRIT, SENSIBILITY, AND SIGHT

INTRODUCING

BAKER SCHORR FINE ART MODERN AND CONTEMPORARY

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ALL TOGETHER NOW: SPIRIT, SENSIBILITY, AND SIGHT

W

hen Sean the art mover, also an artist, prepared

I hope you will find the Gallery to be a place where you

to leave our home after delivering my first

can relax and linger. Further, I trust it will become your

painting for the gallery, he stood before it and

resource for art of the highest quality, right here in

said, as if to a friend, “Well, I better say my goodbyes.”

the Permian Basin. Educational opportunities will be a staple of our program, including art appreciation nights,

His sentiment expresses how I’ve felt about art and the

lectures on collecting, gallery talks and artist lectures.

creative process for most of my life: connection. Art is

Baker Schorr will feature artists in group and solo

relational. It has the power to influence, beautify, engage,

shows throughout the year, and celebrate with gallery

impassion, communicate and challenge. A visual image

receptions.

can be revelation in its truest form. It can push and pull, comfort and disquiet, repel and compel. At its most basic

As I’ve told my art students for more than 25 years,

level, art reflects the soul of things. As Picasso described

making and appreciating art is about learning to see.

so aptly for those of us here in West Texas, “Art washes

I hope Baker Schorr Fine Art will be a place where

from the soul the dust of everyday life.” I think you will find

together we can expand our understanding of beauty, be

this soul evident in the opening exhibition of Baker Schorr

challenged to think deeply, and most of all develop keen

Fine Art.

sight. In a culture divided against itself, art can help us make sense of our humanity. It can reveal the eternal,

The Gallery was an idea birthed shortly before Christmas,

and brighten our homes and days. I agree with Gerhard

2017—incarnation at its finest! BSFA will feature twentieth

Richter when he said:

century modern art, with a focus on American Abstract

painters, and contemporary art, including both twentieth

Art is the highest form of hope.

century works and works by current practicing artists. Our collection also includes some nineteenth century American

Kathryn Schorr

and European paintings. On the pages that follow is a

Baker Schorr Fine Art, Midland, Texas

sampling of our inventory and a taste of what you will see at the opening show.

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“There is no such thing as abstraction as differentiated from reality—all abstraction is based on reality and is reality. You can see abstraction wherever you go—clouds, sidewalks, walls. It is not necessary to see things as objects only. “ –Julius Tobias

Opposite page:

CARL HOLTY American, 1900–1973

REEVE SCHLEY American, b. 1936 T H R E E B L U E S -T I D A L , 2 0 0 0

UNTITLED

Oil on Canvas

Oil on canvas, 1959

24 x 36 inches

76 x 60 inches

Framed: 29 3/4 x 37 3/4 inches

Signed lower right

Signed and dated lower right:

Provenance: Speed Art Museum

RS III 2000

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MODERN Modern Art refers to the art of the late nineteenth and early to mid-twentieth century. Surprising to some, Modern Art began with the light, airy impressionism of Claude Monet.

With his blurred brushstrokes and emphasis on light and color, the movement emerged in 1872. 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 birth of Modernism also had roots in the Industrial Revolution which began mid-eighteenth century and lasted through the nineteenth century. Rapid changes in technology, manufacturing and transportation profoundly affected social, economic and cultural conditions, particularly in North America and Western Europe, and set the stage for new artistic imagery, techniques and materials reflective of modern society.

Beginning with Impressionism, 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. With the abstract expressionists came an abandonment of figurative styles in favor of an emphasis on color, composition, form, emotion, and the creative process.

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orbert Goeneutte was one of the preeminent artistic recorders of ordinary Parisian life during the Belle Epoque Period or “Golden Age” of Europe when peace, progress, and the arts prevailed. Against this

NORBERT GOENEUTTE French, 1854–1894

optimistic backdrop the young Goeneutte painted scenes of urban life and

SALON JAPONAISE

silhouettes of elegant women in contemporary dress. In Salon Japonaise,

Oil on Canvas

Goeneutte paints a striking young woman turning in her chair as if to address

Signed lower right:

the artist directly. There is a feeling of a snapshot, a moment caught and

Norbert Goeneutte

captured on canvas. The canvas perspective has further been flattened, an

24 1/2 x 34 inches

influence of Japanese print employed by Impressionists such as Manet, Degas

Framed: 33 1/2 x 43 inches

and Renoir who were influential friends of the young artist. Goeneutte was an

Provenance: Hirschl & Adler Galleries,

accomplished engraver whose work was rooted in structure and drawing.

New York acquired from the above

While he did not fully embrace the movement, his work took on many of the elements of Impressionism. 1

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JACK ROTH American, 1927–2004 SPRING - 1

Acrylic on canvas, 1981 66 x 66 inches Signed, titled and dated 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 large-scale 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.

NEW SYNTHESIS #38

Acrylic on canvas, 1981 48 x 30 inches Signed and dated ‘81 verso

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JACK ROTH American, 1927–2004 DANCE TO THE MUSIC OF SPRING, MONTCLAIR #51

Acrylic on canvas, 1982 39 x 70 inches Signed, titled and dated ‘82 verso

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ack Roth, who exhibited in one of the first major exhibitions of Abstract Expressionism alongside Willem de Kooning and Jackson Pollock, considered himself a Color Field painter, though he also actively pursued

interests in chemistry, mathematics, and poetry. During his time at California School of Fine Arts, Roth studied with Mark Rothko, Clyfford Still, and Richard Diebenkorn. His paintings are recognizable for thin contour lines and soft forms, in addition to an expressive use of color.

UNTITLED (ROPE DANCER SERIES)

Acrylic on canvas, 1980 59 x 90 inches Signed and dated Roth 80 lower center

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LEOPOLD SURVAGE Russian, 1879–1968 L A M AT E R N I T É , 1 9 4 2

Casein on panel construction Signed and dated lower right: Survage, / 10.12.42; on verso: Galerie René Breteau Exhibition label, L’Oeuvre et La Palette/Mai-Juin 1944; Louis Maitre/17/12/44 26 x 22 1/2 inches Framed: 36 1/4 x 32 3/4 inches Provenance: Galerie René Breteau Collection Louis Martin, acquired from above December 1944 Galerie René Breteau

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MAURICE DENIS French, 1870–1943 FOLG OËT LE S OI R , 1929

Oil on Canvas Signed, dated, and dedicated lower left: A Georges d’Espagnat son ami MAU DENIS-1929 25 3/4 x 29 1/4 inches Framed: 26 1/2 x 30 inches

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AL HELD American, 1928–2005 65-A17

India ink on paper, 1965 22 1/2 x 35 inches Provenance: Andre Emmerich, NY General Electric Corporate Art Collection

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lthough he began losing his eyesight in the 1950s, Burlin’s paintings continued to be filled with “energy and movement, restlessness and cacophony, balanced with technical mastery and clarity of vision.”

PAUL BURLIN American, 1886–1969 YOUTH

He said, “My point of departure is a step by step organization of shape and

Oil on canvas, 1963

color into a unity of design.”

80 x 70 inches Signed and dated Burlin 63 at lower right Provenance: The Estate of the Artist

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HANS VAN DE BOVENKAMP Dutch/American, b. 1938 CON FLUENCE MODEL (N EBR ASKA)

2011 Stainless Steel 37 inches high

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REGINALD MARSH American, 1898–1954 F I F T H AV E N U E S T R E E T S C 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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JEAN DUFY French 1888–1964 U N E V U E D E PA R I S

Watercolor on Paper Signed lower left 18 3/8 x 12 1/4 inches Framed: 27 x 21 inches *Accompanied by a photo-certificate of authenticity signed by Germaine Dufy, the artist’s son

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“A painting requires a little mystery, some vagueness and some fantasy. When you always make your meaning perfectly clear you end up boring people.”

—Edgar Degas

TETSUO OCHIKUBO American, 1923–1975 S O L I TA RY C LO U D, 19 6 4

Oil on canvas 40 x 50 inches Signed lower right Provenance: Seymour Knox, Buffalo, NY

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JOHN STEPHAN American, 1906–1995 D I S C # 2 , 1 9 74

Acrylic on linen canvas, 36 x 34 inches Signed, titled and dated ‘74 verso Provenance: Harcus Krakow Gallery, Boston, MA (label verso) Stop & Shop Corporation Collection

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UNTITLED (DISC)

Acrylic on Canvas, 1972 58 x 60 inches Provenance: The Estate of the Artist

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FRED TROLLER Swiss/American, 1930–2002 U N T I T L E D, 19 6 4

Charcoal on paper, 1964 31 x 22 3/4 inches Signed and dated Troller 64 at lower right Provenance: The Estate of the Artist

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U N T I T L E D, C . 19 5 8

Gouache on paper, c. 1958 19 7/8 x 27 1/2 inches Provenance: The Estate of the Artist

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aughter of famous American artist Milton Avery and illustrator/painter Sally Michel Avery, March Avery

was born in 1932 and grew up in Greenwich Village. Artists such as Mark Rothko, Adolf Gotlieb, Barnett Newman, and Marsden Hartley were frequent visitors to the Avery household. Though she did not study art formally (instead she pursued a philosophy degree from Barnard), she has said, “I knew no one but artists, so I knew that is all I would ever be.�

MARCH AVERY American, b. 1932 Q U I E T T I M E - E M I LY + M A R T H A , 1 9 7 7

Oil on canvas, 50 x 62 inches Signed and dated lower left Signed, titled, and dated on stretcher verso Provenance: Private Collection, Philadelphia, PA

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ike Stuart Davis and many other American painters, Ray Parker loved jazz (he played trumpet) and believed that an improvisational, musical approach to painting could provide a viable alternative to traditional composition.

He loved Matisse, whose book ‘’Jazz’’ was published in 1947, and continued to be inspired by Matisse’s approach to color and shape.

RAY PARKER American, 1922–1990 U N T I T L E D, 19 5 3

Oil on canvas, 1953 28 x 41 inches Signed and dated ‘Ray Parker 1953’ verso Provenance: Private Collection, Virginia

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MARY ABBOTT American, b. 1921 SUDDEN SUN

Oil on canvas, c. 1958 30 x 28 inches Signed lower right Provenance: McCormick Gallery, Chicago Private Collection, California

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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.

FRED TROLLER Swiss/American, 1930–2002 U N T I T L E D, 2 0 0 0

Opposite page:

MATT KLEBERG American, b. 1985

Pastel on paper, 2000

W AY L O N ’ S P R I S M

40 x 26 inches

2017

Signed and dated at lower right

Oil stick on canvas

Provenance: The Estate of the Artist

78 x 58 inches

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JANE PIPER American, 1916–1991 COSMOS WITH CHESS BOARD

Oil on canvas, 1988–89 36 x 44 inches Signed and dated bottom right, titled on stretcher bar verso Provenance: The Mangel Gallery, Philadelphia, Pennsylvania.

The Collection of Perry & June Ottenberg, Philadelphia, Pennsylvania (acquired directly from the above in 1989).

Exhibited: “Jane Piper: Recent Paintings,” Mangel Gallery, Philadelphia, October 14–November 3, 1989, exhibition no. 15.

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CLEVE GRAY American, 1918–2004 H O N O LU LU, 19 7 0

Acrylic on canvas, 68 x 49 inches Signed and dated Gray 70 at lower right Provenance: The Estate of the Artist

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JOHN GRILLO American, 1917–2014 U N T I T L E D, 19 5 3

Oil on canvas 12 x 24 inches Signed at lower right Signed and dated 1953 verso Provenance: The Artist

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“Seize every paintable occasion.“ —Hans Hofmann

RYAN JOHNSON American, b. 1993 ‘GOSHEN’ OR ROCK OF AGES

2018 Oil and oil pastel on canvas 36 x 60 inches

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‘G O S H EN ’ O R TH E VA LLEY T U R N

2017 Oil and oil pastel on gessoed paper 22 x 30 inches

‘GOSHEN’ OR SUMMER STREAM

2018 Oil on Canvas 34 x 46 inches

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VIVIAN SPRINGFORD American, 1914–2003 U N T I T L E D ( E X PA N S I O N I S T S E R I E S ), 19 7 7

Acrylic on canvas, 51 1/4 x 49 inches Signed, dated 1977, and titled verso Provenance: The Estate of the Artist

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UNTITLED

Acrylic on canvas, 60 1/4 x 60 inches Signed verso

ABSTRACT ART

does not attempt to represent an

accurate description of visual reality but instead uses shape, color, form and gestural marks to achieve its effect.

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ELLEN HECK American, b. 1983 This page:

THREE L O N E LY H E A R T S S E R I E S

Woodcut and drypoint 22 x 15 inches Opposite page, lrom left to right:

K I R A A N D TH R EE M Ö BI US K N OTS F A S C I N AT O R S E R I E S , 2 0 1 6 / 1 7

Drypoint, woodcut, hand painting 15 x 11 inches M I A W E A R I N G A P E R F O R AT E D M Ö B I U S S T R I P A S A H AT F A S C I N AT O R S E R I E S , 2 0 1 6 / 1 7

Aquatint and drypoint 15 x 11 inches WREN WEARING A MOBIUS STRIP A S A H AT F A S C I N AT O R S E R I E S , 2 0 1 6 / 1 7

Woodcut and drypoint 15 x 11 inches

SAM WEARING THREE MÖBIUS S T R I P S A S A H AT F A S C I N AT O R S E R I E S , 2 0 1 6 / 1 7

Woodcut, drypoint, watercolor K AT E W E A R I N G A R C H E T E C T U R E A S A H AT F A S C I N AT O R S E R I E S , 2 0 1 6 / 1 7

Woodcut and drypoint 15 x 11 inches

15 x 11 inches LAURA WEARING A MÖBIUS STRIP A S A H AT F A S C I N AT O R S E R I E S , 2 0 1 6 / 1 7

Woodcut, drypoint, hand painting SASHA WEARING A TOROIDAL S C H E R K S U R F A C E A S A H AT F A S C I N AT O R S E R I E S , 2 0 1 6 / 1 7

Woodcut, drypoint, watercolor 15 x 11 inches

15 x 11 inchess MIRIAM WEARING A DOUBLE I NTERLOCKI NG MÖBIUS STRI P A S A H AT F A S C I N AT O R S E R I E S , 2 0 1 6 / 1 7

SIMONA WEARING A MÖBIUS S T R I P A S A H AT F A S C I N AT O R S E R I E S , 2 0 1 6 / 1 7

Woodcut, drypoint, hand painting 15 x 11 inches

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Woodcut, drypoint, hand painting 15 x 11 inches

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LYNNE MAPP DREXLER American, 1928–1999 VA LC LUS E , 19 5 9

Oil on canvas 44 1/2 x 50 inches Signed, titled and dated verso Provenance: The Estate of the Artist

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OSCAR GAUTHIER French 1921–2009 S A NS TITRE, 1956

Oil on Canvas Signed lower right: Oscar Gauthier; on verso: signed and annotated CS-ZQD along with Galeries Arnoux label (Abstraits 1910–1960/Connus et Meconnus) and stamp on stretcher.)

32 x 25 1/2 inches Framed: 38 x 32 inches Provenance: Atelier of the Artist Arnoux, Paris Private Collection, Paris Galerie Arnoux, Paris

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“One eye sees, the other feels. “

ANDRE COTTAVOZ French 1922–2012 NEW GARDENS

1964 Oil on Canvas Signed lower left: Cottavoz 64 29 x 39 inches Framed: 37 1/2 x 48 inches Provenance: Galerie Kriegel, Paris Tokyo Biennale, 1965

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— Paul Klee

L A C A M PA G N E E N F L E U R S

1957 Oil on Canvas Signed lower left: Cottavoz 57 Signed, titled and dated on verso: La Campagne en Fleurs, Cottavoz, 3-57 21 1/4 x 31 3/4 inches Framed: 29 3/4 x 40 1/4 inches

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JOHN LITTLE American, 1907–1984 WILL CURL

Oil on canvas, 1970 32 x 26 inches Signed and dated John Little 70 lower left

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JOHN WHORF American, 1903–1959 ANGLING ON THE RIVER

Watercolor on Paper Signed lower right: John Whorf 14 1/2 x 21 1/4 inches Framed: 26 1/4 x 33 inches

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“Develop your senses—especially learn how to see. Realize that everything connects to everything else. “ — Leonardo da Vinci

SALLY MICHEL AVERY American 1902–2003 TIGHTROPE WA LKER , 1982

Oil on canvas, 40 x 50 inches Signed and dated lower right Signed, titled and dated in red crayon verso Provenance: The Estate of the Artist

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MARTHA WALTER American 1875–1976 VI LL AGE, NORTH AFRIC A

Unsigned 5 1/2 x 8 1/4 inches Framed 10 1/4 x 13 1/4 inches Provenance: Estate of the Artist P A S S A G E W A Y, N O R T H A F R I C A

Watercolor on Paper Signed lower left: Martha Walter 7 1/4 x 5 1/4 inches Framed: 11 1/2 x 9 1/2 inches Provenance: Estate of the Artist

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HUNT SLONEM American, b. 1951 C O C K AT O O S , 1 9 9 1

Oil on canvas 44 X 66 inches Signed, dated, titled verso Provenance: private collection, New York

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JOSE PEDRO COSTIGLIOLO Uruguayan, 1902–1985 U N T I T L E D, 19 6 9

Oil on canvas 39 1/2 x 39 1/2 inches Signed and dated lower right Provenance: Purchased by previous owner from the Bruzzone Galeria De Arte (Uruguay) in the 1970s.

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ILYA BOLOTOWSKY American, 1907–1981 A BSTR ACTION I N S QUA RE, 1978

Oil on canvas, 40 x 40 inches Signed lower center; titled and dated 1978 verso Provenance: Private Collection, Prague Exhibited: Borgenicht Gallery New York

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“Abstract painting is on a level with music. It’s a physical outburst from your whole being… It’s always a challenge to shape something from nothing, to do the impossible.”

JOHN GRILLO American, 1917–2014 U N T I T L E D, 19 6 0

Oil on board, 20 x 30 inches Signed and dated Grillo 60 at lower right Provenance: Private Collection, CT

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—John Grillo

JOSEF ONGENAE 1921–1993 VI NA I , 1963

Oil on masonite, 39 x 39 inches Signed and dated 1963 verso Provenance: Private Collection, Brussels, Belgium

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ANGELO IPPOLITO American, 1922–2001 OVA L L A N D S C A P E , C . 19 5 6

Oil on canvas 22 x 27 inches Signed and dated center right Provenance: The Estate of Williamstown, MA Collector; Bertha Schaeffer Gallery, NYC

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ANTONIO BARONE American 1889–1971 YO U N G B OY S LEEP I N G

American 1889–1971 Young Boy Sleeping Oil on Canvas Signed lower left Antonio Barone 1914 29 1/2 x 23 inches Framed: 32 1/2 x 38 1/2 inches

ERNEST JOSEPH LAURENT French, 1859–1929 L’ H E U R E D U T H É

Oil on Canvas Initialed lower right 10 1/2 x 13 1/2 inches Framed: 19 1/2 x 22 1/2 inches

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epeatedly described as formal and lyrical, Lundeberg’s paintings rely on precise compositions that utilize restricted palettes.

Her paintings often employ the idea of “mood entity,” a concept in

Post Surrealism that was concerned with evoking states of mind, moods and emotional content.

HELEN LUNDEBERG American, 1908–1999 WI N DBLOWN , 1964

Oil on canvas, 40 x 60 inches Signed and dated Jan. 1964 verso Titled on label Provenance: Ankrum Gallery, Los Angeles, CA (label verso)

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CARL HOLTY American, 1900–1973 U N T I T L E D ( Y E L L O W , G R AY )

Oil on Canvas Signed lower right: Holty 66 x 55 inches Provenance: Estate of Carl Holty

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Opposite page:

JOHN STEPHAN American, 1906–1995

LUIGI LOIR French 1865–1916 FILLETTES SUR LES QUAIS,

UNTITLED

P L A C E D U C H ÂT E L E T

Oil on canvas, c. 1960s

Watercolor on Paper

64 x 36 inches

Signed lower right: Luigi Loir

Estate label and estate stamped verso

11 1/2 x 11 1/2 inches

Provenance: Estate of the Artist

Framed 17 1/4 x 17 1/4 inches Provenance: Private Collection, France Sotheby’s Paris, June 2013

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PAUL JENKINS American, 1923–2012 P H E N O M E N A R E D R O B I N B R E A ST, 19 8 1

Acrylic on canvas 39 x 39 inches Signed lower center Provenance: Gimpel & Weitzenhoffer Gallery, New York Private Collector, London, Ontario, Canada

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EMERSON WOELFFER American, 1914–2003 U N T I T L E D, 19 5 0 s

Oil on canvas 23 x 27 1/2 inches Signed lower right Provenance: Private Collection, Prague

HAROLD KRISEL American, 1920–1995 U N T I T L E D, 19 6 0

Oil on canvas, 1960 20 x 32 inches Signed and dated verso

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GEORGE VRANESH

“American art in the 1950s and 60s manifested a new level

American, 1926–2014

of self-assurance. Abstract Expressionism, Modernism,

BUTTON DOWN JAZZ

Minimalism and Pop Art all began here [in America] and

Oil on canvas, 1957

influenced the rest of the world.”

28 x 36 inches Signed and dated lower right Vranesh ‘57 Provenance: Estate of the Artist Exhibited: Montanaro Gallery, Newport, RI

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— Clark Randt

S E AT E D M A N

Oil on canvas, 1956 30 x 26 inches Signed and titled verso Provenance: Estate of the Artist Private Collection, West Hollywood, CA Private Collection, New York, NY

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CLAUDE EMILE SCHUFFENECKER French, 1851–1934

Right:

VALERIE JAUDON American, 1907–1984

PROMENADE SUR LE CHEMIN

P O R T G I B S O N , 1 9 74

A L A C A M PA G N E

Oil on canvas,

Oil on Board

72 x 72 inches

Signed lower right and dated 1888

Signed, dated 1974 and titled verso

12 1/2 x 17 inches

Provenance: Private Collection, New York

Framed: 20 1/4 x 24 1/2 inches

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“It is only with the heart that one can see rightly; what is essential is invisible to the eye.”

—Antoine de St. Exupery

Opposite page:

RYAN JOHNSON American, b. 1993

HARRY WILSON WATROUS American, 1857–1940 W O M A N AT P R A Y E R , 1 9 1 2

‘GOSHEN’ OR SUMMER STREAM

Oil on canvas,

(Detail) , 2018

36 x 24 inches

Oil on Canvas

Signed and dated 1912 at lower right

34 x 46 inches

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Cover Image: March Avery, Quiet Time-Emily + Martha, 1977, see pg 24–25.

Pg 1: Carl Holty, Scotch Mist, oil on canvas, 56 x 46 inches Pg 2: Kathryn Baker Schorr at the Blanton Museum, Austin, 2018.

Photograph by Melissa Grimes.

pg 7: 1 Norbert Goeneutte, Salon Japonaise, excerpt from TheCuratorsEye.com Š 2018 All rights reserved. No portion of this catalog may be reproduced, stored in any form, or transmitted by any means, without written permission from Baker Schorr Fine Art. Design by Lilla Hangay, San Diego, CA Printed by One Touch Point, Austin, TX

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

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