David Dike Fine Art • Fall 2019

A Tradition In Texas Art Since 1996

DAVID DIKE FINE ART TEXAS ART AUCTION Saturday, November 9, 2019 at 12 Noon CST

FRONT COVER : PAGE 17 , LOT 70

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JOSE ARPA

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INSIDE BACK COVER : PAGE 41 , LOT 134

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AUCTION DIRECTOR : ANNE KELLY LEWIS , ISA AM

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INSIDE FRONT COVER : PAGE 37 , LOT 128 SEYMOUR FOGEL

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MICHAEL GORDON OWEN , JR .

BACK COVER : PAGE 36 , LOT 127

CATALOGUE DESIGN : WINSHIPPHILLIPS . COM

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DAVID BATES

PHOTOGRAPHY : PHIL BAILIFF

A Tradition In Texas Art Since 1996

DAVID DIKE FINE ART TEXAS ART AUCTION Fall Auction: Saturday, November 9, 2019 at 12 Noon CST Wildman Art Framing 1715 Market Center Boulevard Dallas, Texas 75207 •

Auction Preview Open Daily Monday-Friday, November 4-8, 2019, 10am-5pm Wildman Art Framing

Auction Preview Reception Thursday, November 7, 2019 from 5:30-8:30pm Wildman Art Framing

Auction Date and Location Saturday, November 9, 2019 Doors open at 10am; Bidding starts promptly at 12 Noon CST Wildman Art Framing

Bidding Options Bidding options available via LiveAuctioneers.com Absentee and live phone bidding available.

For the absentee/phone bid form and online internet bidding access, please visit: www.daviddike.com

2613 Fairmount Street • Dallas, Texas 75201 • Phone: 214-720-4044 • Fax: 214-720-4469 • Email: info@daviddike.com • Website: www.daviddike.com Hours: Monday – Friday 10:00 AM – 5:00 PM • Saturday 11:00 AM – 4:00 PM Please Contact the Gallery for More Information.

AUCTIONEER: LOUIS MURAD OF MURAD AUCTIONEERS LOUIS MURAD TXS 13362 •

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TERMS AND CONDITIONS OF AUCTION The following, as amended by any posted notices, specific bills of sale or similar instruments relating to a transaction or oral announcements during the sale, constitutes the entire terms and conditions on which property listed in the catalogue shall be offered for sale or sold by Murad Auctions, the auctioneer conducting the sale on behalf of any consignor for whom we act as agent. DDFAA (as subsequently defined) is not an auctioneer and is not conducting the auction or arranging any resulting transaction. In these Conditions of Sale, “We” and “Our” refer to Murad Auctions.

1. As used herein the term “bid price” means the price at which a lot is sold to the purchaser and the term “purchase price” means The aggregate of (a) the bid price, (b) A PREMIUM PAYABLE BY THE PURCHASER OF 20% of the hammer price (or 25% if bidding via LiveAuctioneers.com online) and (c) unless the purchaser is exempt by law from the payment thereof, any Texas or local sales tax (or compensating use tax of another state) and applicable taxes. Murad Auctions has been authorized by the consignor to retain, as part of our remuneration, the premium payable by the purchaser.

2. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the offered lot, and title to the lot shall pass to the purchaser, in accordance with all of the conditions set forth herein and thereupon the purchaser (a) assumes full risk and responsibility therefore (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full in cash for all lots purchased. To prevent misdelivery and inconvenience in settlement of a purchase, no lot may be transferred. All property shall be removed from our premises at the purchaser’s expense immediately following the sale. If not so removed we may, as an accommodation to the purchaser, transfer the property to a public warehouse or other premises under our control or the control of DDFAA at the purchaser’s sole risk and expense. Each sale made pursuant to these Conditions of Sale will be deemed to constitute a grant of security interest by the purchaser to us in, and we may retain as collateral security for the purchaser’s obligations to us or our assignee, any of the purchaser’s property in our possession, and we may apply against such obligations all monies held or received by us for the account of, or owing to, the purchaser. Each purchaser consents to the filing of public notices or our lien. Whenever the purchaser pays only a part of the total purchase price for one or more lots purchased, we may apply such payments, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have collected all amounts due in cash or good funds represented by cleared checks or cashier checks. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to other remedies available to us and the consignor by law, including but without limitation, the right to hold the purchaser liable for the purchase price, we at our option may either (a) cancel the sale, retaining as liquidated damages all payments made by the purchaser or b) resell the property with a three day notice to the original defaulting purchaser, and in such event the purchaser shall be liable for the payment of any deficiency plus all costs and expenses of both sales, our commission at our standard rates, all other charges due hereunder, attorney’s fees and incidental damages; or (c) take any measures it deems necessary. If Murad Auctions must resell the property, the original defaulting purchaser will be held responsible for any deficiencies in the purchase price, including any and all associated expenses including reasonable attorney’s fees, warehousing, commissions or any other costs associated with the default. No actions by us or any third party before or after the auction shall be deemed a waiver of any of the foregoing.

3. We reserve the right to withdraw any property at any time before the actual sale. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalogue and no lot shall be divided for sale.

4. The auction will be conducted by Louis Murad TXS 13362. We reserve the right to reject any bid 2

from any bidder. The highest bidder acknowledged by the auctioneer shall be the purchaser. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects.

5. If we are prevented by fire, theft or any reason whatsoever from delivering any property to the purchaser, our liability shall be limited to the sum actually paid therefore by the purchaser and shall in no event include any incidental or consequential damages.

6. Some lots are offered subject to a “reserve,” which is an undisclosed minimum price below which the lot will not be sold. If a lot is offered subject to a reserve, the auctioneer may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve.

7. ALL STATEMENTS CONTAINED OR IN ANY BILL OF SALE, INVOICE OR ELSEWHERE, OR MADE BY THE AUCTIONEER, AS TO AUTHORSHIP, PERIOD, CULTURE, SOURCE, ORIGIN, MEASUREMENT, QUALITY, RARITY, PROVENANCE, IMPORTANCE, EXHIBITION AND LITERATURE OF HISTORICAL RELEVANCE OR PHYSICAL CONDITION ARE QUALIFIED STATEMENTS OR OPINION AND NOT REPRESENTATIONS OR WARRANTIES. WE AND CONSIGNORS MAKE NO REPRESENTATION AND WARRANTIES AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS, INC LU D I N G BU T N OT L I M I T E D TO , A N Y REPRODUCTION RIGHTS IN THE PROPERTY. No employee or other agent of Murad Auctions, the auctioneer, David Dike Fine Art, L.L.C., Dike Management, LLC, David Dike Fine Art Auction, David Dike Fine Art or of David Dike (collectively “DDFAA”) is authorized to make on behalf or that of the consignor any representation or warranty, oral or written, with respect to any property. Prospective bidders should inspect the property before bidding to determine its condition, size and whether or not it has been repaired or restored.

THE PURCHASER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL WE BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES. IN NO EVENT WILL OUR LIABILITY OR THE LIABILITY OF DDFAA TO A PURCHASER EXCEED THE PURCHASE PRICE ACTUALLY PAID. 8. All deliveries will be shipped COD unless otherwise agreed to by purchaser and Murad Auctions. If packing and handling of purchased lots is done by us, it is done at the entire risk of the purchaser. We are not liable for any acts or omissions of carriers or packers, including those we may recommend. Such carriers or packers may carry their own insurance and any claim for loss or damage should be addressed directly to them. No items will be shipped unless we specifically agree to do so.

9. Unless prior arrangements have been made with Murad Auctions, there may be a seven day waiting period if purchasing artwork with a personal or company check. To avoid delay of this sort, bidders are encouraged to prearrange check approval or establish a line of credit with Murad Auctions by calling (214) 720-4044 no later

than noon on Saturday, November 9, 2019. There will be no exceptions. Bank card purchases will be honored at our option.

10. These Conditions of Sale and the purchaser’s and our respective rights and obligations hereunder are governed

by Texas law. By bidding at an auction, whether in person or by agent, telephone or other means, the purchaser or bidder agrees to be bound by these Conditions of Sale and to consent to the exclusive jurisdiction of the state courts of, and the federal courts sitting in, the State of Texas. All of our obligations under these Conditions of Sale and the obligations of purchaser to pay, are performable in Dallas, Dallas County, Texas.

11. These Conditions of Sale shall bind the successors and assigns of all bidders and purchasers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing by us. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the rest shall remain valid and enforceable.

12. As a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of sale by telephone, or in writing on bidding forms available from us. “Buy” bids will not be acceptable; all bids must state the highest bid price the bidder is willing to pay. As noted above, a premium payable by the purchaser will be added to the bid price. In the event identical bids are submitted, the earliest will take precedence.

Absentee bids shall be executed in competition with other absentee bids, any applicable reserve and bids from the audience. Successful absentee bids may not be acknowledged, but sale results and selling prices for any lot may be obtained by telephoning us during normal business hours. We assume no responsibility for failure to execute these bids for any reason whatsoever.

13. As a convenience to our clients, we furnish pre-sale estimates for all lots included in the catalogue. These are intended as an approximate guide to current market value, and should not be interpreted as a price or as an appraisal. The final bid may well be less or more than any estimate printed.

14. EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS-IS” AND NEITHER MURAD AUCTIONS, THE AUCTIONEER, DAVID DIKE, THE DAVID DIKE FINE ART AUCTION, DAVID DIKE FINE ART, L.L.C. OR DIKE MANAGEMENT LLC, NOR THE CONSIGNOR NOR THE AGENT OF ANY OF THEM MAKES ANY REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIES, AS TO THE TITLE, MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. 15. All rights to this catalogue are reserved. Some of the images may be the subject of copyright or other rights of the artist or owner. No part of this catalogue may be reproduced without permission.

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4. TOM LEA (Am. 1907-2001)

1. REVEAU BASSETT & CATALOGUE (Am. 1897-1981)

Ducks and Hard Bound Catalogue: Dallas Museum of Fine Arts Exhibition of Paintings Sculpture & Graphic Arts, Texas Centennial catalogue painted ceramic ducks 1 5/8 x 4 ½ x 1 3/4, book: 9 x 6 ducks signed on sculptural base: Bassett pair: $300 - $600

2. REVEAU BASSETT (Am. 1897-1981)

Ceramic Book Ends painted ceramic each 5 5/8 x 6 3/8 x 4 1/2 signed on sculptural base: Reveau Bassett $300 - $600

3. CATALOGUE: DALLAS MUSEUM OF FINE ARTS Exhibition of Paintings Sculpture & Graphic Arts, Texas Centennial, June 6 to November 29, 1936 book (spiral) 8 1/2 x 5 1/2 $200 - $400

Portfolio of 6 prints portfolio of 6 prints $300 - $600

8. LLOYD LOZES GOFF (Am. 1908-1982)

7. LLOYD LOZES GOFF (Am. 1908-1982)

5. KATHLEEN BLACKSHEAR (Am. 1897-1988)

Portrait of Helen Wesley serigraph 11 x 15 signed lower right: Kathleen Blackshear $800 - $1,200

6. BESS HUBBARD (Am. 1896-1977)

The Cowboy’s Dream lithograph 6 1/2 x 9 3/4 signed lower right: Lloyd Goff $400 - $800

Passing Storm, Ed. 100, 1936 lithograph 9 3/4 x 14 signed across bottom: Passing Storm, 100 prints, Lloyd Goff 1936 $800 - $1,200 This image is illustrated in American Prints in the Library of Congress, compiled by Karen F. Beall, pg. 174

San Geronimo Hills lithograph 9 1/2 x 12 signed lower right: Bess Hubbard $500 - $1,000

12. BLANCHE McVEIGH (Am. 1895-1970)

9. LLOYD GOFF (Am. 1908-1982)

Cattle Country lithograph 7 x 12 signed lower left: Lloyd L Goff, 1945 $400 - $800

11. BLANCHE McVEIGH 10. BLANCHE McVEIGH (Am. 1895-1970)

Lawdy Lawdy, Ed. 25 etching 8 x 10 signed lower right: Blanche McVeigh $500 - $1,000

(Am. 1895-1970)

Commissary etching 11 x 14 1/2 signed lower right: Blanche McVeigh 47 $500 - $1,000

Without a Song, 1939 etching 8 x 8 signed lower right: Blanche McVeigh $500 - $1,000

13. EDWARD EISENLOHR (Am. 1872-1961)

Rural Homes, 1933, Ed. 32/35 lithograph 7 x 10 7/8 signed across bottom: Rural Homes, 32/35, Edward Eisenlohr $500 - $1,000

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14. EDWARD EISENLOHR (Am. 1872-1961)

Santa Fe, 1921 pencil on paper 8 1/2 x 12 signed across bottom: E.G. Eisenlohr - Santa Fe, 1921 $800 - $1,200

D AV I D D I K E F I N E A RT H T E X A S A RT A U C T I O N

15. EDWARD EISENLOHR (Am. 1872-1961)

16. MARY LIGHTFOOT

Five Mile Creek, Dallas, 1933, Ed. 18/50 lithograph 8 x 10 1/8 signed across bottom: Five Mile Creek, 18/50, Edward G. Eisenlohr, Dallas,1921 $500 - $1,000

First Church lithograph 13 x 10 1/4 signed across bottom: First Church, Mary Lightfoot $800 - $1,200

(Am. 1889-1973)

19. PETER HURD (Am. 1904-1984)

Sermon from Revelations lithograph 10 x 13 1/2 signed across bottom: Sermon from Revelations, Peter Hurd $1,500 - $3,000

17. BARBARA MAPLES (Am. 1912-1999)

Tio Vivo (Merry-Go-Round, Taos, NM), Ed. 4/6 linocut 15 x 12 1/2 signed across bottom: Tio Vivo, 4/6, Barbara Maples $600 - $1,200

20. CHARLES T. BOWLING (Am. 1891-1985)

Low Land, Ed. 20 lithograph 9 x 12 signed across bottom: Low Land (Ed. 20), Chas. Bowling $800 - $1,200

18. MARY BONNER (Am. 1887-1935)

Bronco and Rider etching 7 1/2 x 5 1/4 signed lower right: Mary Bonner to Marian Peterson $1,000 - $2,000

23. MERRITT MAUZEY (Am. 1898-1973)

Good Earth lithograph with hand coloring 9 x 16 signed across bottom: Good Earth, Ed. 20, Merritt Mauzey $1,500 - $2,500

24. MERRITT MAUZEY (Am. 1898-1973)

November, Ed. 22 lithograph 10 1/4 x 14 1/2 signed: November, ed. 22, Merritt Mauzey $600 - $1,200

21. THOMAS HART BENTON (Am. 1889-1975)

The Corral, (AAA Edition) lithograph 9 1/2 x 14 signed lower left: Benton $1,500 - $3,000

22. MERRITT MAUZEY (Am. 1898-1973)

Trip to the Gin, Ed. 20 lithograph 11 3/4 x 15 3/4 signed: Trip to the Gin, Ed. 20, Merritt Mauzey $600 - $1,200

27. MERRITT MAUZEY (Am. 1898-1973)

Supper Time, Ed. 20 lithograph 9 3/4 x 13 signed across bottom: Supper Time, Ed. 20, Merritt Mauzey $1,000 - $2,000

28. MARY FRANCIS DOYLE (Am. 1904-2000)

Maguey and Pincushions, 1953 lithograph 13 x 19 1/2 signed lower right: Mary Doyle 53 $600 - $1,200

25. MERRITT MAUZEY (Am. 1898-1973)

Days End, Ed. 15 lithograph 10 x 15 signed across bottom: Day’s End, Ed. 15, Merritt Mauzey $1,000 - $2,000

26. MERRITT MAUZEY (Am. 1898-1973)

Goat Ranch lithograph 16 1/4 x 20 signed across bottom: Goat Ranch, Merritt Mauzey $1,500 - $3,000

30. ED BEARDEN (Am. 1919-1980)

29. REVEAU BASSETT (Am. 1897-1981)

Rising Mallards, 1927 lithograph 12 x 14 signed across bottom: Rising Mallards, Reveau Bassett 47 $400 - $800

New Mexico Ranch lithograph 9 x 12 signed across bottom: “New Mexico Ranch,” Ed Bearden $600 - $1,200

O R I G I N A L P R I N T S, D R A W I N G S , B O O K S & F O L I O S

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33. OTIS DOZIER

31. ALEXANDRE HOGUE

32. JERRY BYWATERS

(Am. 1904-1987)

(Am. 1906-1989)

Rivals, Ed. 7/16, 1937 lithograph 10 x 13 signed lower right: Rivals 7/16 Otis Dozier and signed reverse: Barefoot Sanders $1,000 - $2,000

Boneyard, Ed. 30/50, 1938 lithograph 8 x 10 signed across bottom: Bone Yard, 30/50, Jerry Bywaters 38 $1,500 - $3,000

(Am. 1898-1994)

34. OTIS DOZIER (Am. 1904-1987)

Jack Rabbit, A/P, 1987 serigraph 17 x 23 signed across bottom: AP, Jack Rabbit, Otis Dozier 87 $4,000 - $8,000

EXHIBITED: First Circuit of Lone Star Printmakers, 1938

Oil Strike, 1943 lithograph 16 1/2 x 13 1/4 signed across bottom: Oil Strike, Alexandre Hogue $1,500 - $3,000

38. OTIS DOZIER (Am. 1904-1987)

36. OTIS DOZIER

Pigeon, 1987 pencil on paper 8 1/2 x 10 signed lower right: Dozier 1987 $800 - $1,200

(Am. 1904-1987)

Fat Owl ink on paper 7 1/2 x 9 1/2 signed lower right: Dozier $800 - $1,200

37. OTIS DOZIER (Am. 1904-1987)

Two Sketches, Rodeo Clown and Waiting mixed media on paper 8 x 6 and 7 1/2 x 10 3/4 estate stamped: Estate of Otis Dozier $1,500 - $3,000

35. OTIS DOZIER (Am. 1904-1987)

Owl, Ed. 27/30, 1987 lithograph 14 x 10 signed across bottom: 27/30, Owl, Otis Dozier 87 $800 - $1,200

39. KELLY FEARING (Am. 1918-2011)

The Birds etching 7 1/3 x 6 7/8 signed lower right: Kelly Fearing, 1946 $600 - $1,200

40. TOM LEA (Am. 1907-2001)

Back V iew of Cowboy pencil on paper 17 3/4 x 11 3/4 signed on reverse $1,000 - $2,000 This lot is accompanied by a letter of authenticity.

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41. ORA PHELPS BAKER (Am. 1898-1989)

Going West on the Cicada watercolor on paper 13 x 20 $300 - $600

42. SAM GUMMELT (Am. 1944-)

Untitled, 1972 pencil on paper 7 x 7 signed lower right: Sam Gummelt, 1972 $900 - $1,800

43. JOSE CISNEROS (Am. 1910-2009)

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First Thanksgiving pen, ink and watercolor 14 x 18 signed lower right: J. Cisneros ‘88 $2,500 - $5,000

Jose Cisneros has been described as a leading historical illustrator of the Southwest. Although a painter, wood carver, writer and muralist, his primary focus was recording through his illustration the history of the Southwest border region. Cisneros was born in Villa Ocampo, Mexico in 1910.

Here he received some schooling in El Valle de Allende before traveling to Ciudad Juarez in 1925.

Although largely self taught, Cisneros crossed the Rio Grande to attend the Lydia Patterson Institute in El Paso, Texas. In the 1930s he began his illustration career while working odd jobs to support his family. He introduced himself to Tom Lea, which led to his long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During the 1940s, Cisneros illustrated over 200 publications and books. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution, and the Order of Civil Merit given him by King Juan Carlos I of Spain in 1991.

FINE PAINTINGS AND SCULPTURE

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44 44. DAVID SANDERS (Am. 1936-2013)

Winter Windmill Scene pastel on paper 30 x 40 signed lower right: David Sanders 1977 $1,000 - $2,000

45. DAVID SANDERS (Am. 1936-2013)

Windmill and Cactus pastel on paper 18 x 24 signed lower right: David Sanders $1,500 - $3,000

46. ROBERT HARRISON (Am. 20th Cent.)

Pedernales River oil on canvas 24 x 30 signed lower left: Robert Harrison $1,500 - $3,000

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47. BARNABY FITZGERALD (Am. b.1953)

Nativity Scene oil on board 18 x 25 signed lower right: Barnaby 12 $1,000 - $2,000

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48. JACK BARNETT (Am. b.1944)

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Longhorns oil on canvas 23 1/2 x 27 1/2 signed lower left: Barnett 02 $1,000 - $2,000

49. JACK BARNETT (Am. b.1944)

Storm Clouds oil on canvas 30 x 48 signed lower left: Barnett 11 $2,000 - $4,000

50. NOE PEREZ (Am. b.1958)

Longhorn Pasture oil on canvas 30 x 40 signed lower left: N. Perez $2,000 - $4,000

51. JACK BARNETT (Am. b.1944-)

Black Angus Cattle in Green Pasture oil on canvas 30 x 38 signed lower left: Barnett 12 $2,000 - $4,000

52. JACK BARNETT (Am. b.1944-)

Arms in a Landscape oil on canvas 26 x 42 signed lower left: Jack Barnett 07 $1,000 - $2,000

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FINE PAINTINGS AND SCULPTURE

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53. CARL BENTON COMPTON (Am. 1905-1981)

Tree Pasture, c. 1941 mixed media on board 15 1/2 x 18 $3,000 - $6,000 EXHIBITED: The Comptons of Texas: Rediscovered Works by Carl Benton and Mildred Norris Compton at UNT, presented by William Reaves Fine Art, March 4 – 26, 2016.

Images of this painting are included in the accompanying exhibition catalogue on pages 12 and 29.

54. CARL BENTON COMPTON (Am. 1905-1981)

Builders, 1940 mixed media on board 30 x 36 signed lower left: January, 1940, Carl Benton $4,000 - $8,000

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EXHIBITED: The Comptons of Texas: Rediscovered Works by Carl Benton and Mildred Norris Compton at UNT, presented by William Reaves Fine Art, March 4 – 26, 2016.

An image of this painting is included in the accompanying exhibition catalogue on page 27.

55. CARL BENTON COMPTON (Am. 1905-1981)

Plowing the Field oil on canvas 24 x 30 signed lower right: Carl Benton Compton 1935 $7,000 - $14,000 EXHIBITED: The Comptons of Texas: Rediscovered Works by Carl Benton and Mildred Norris Compton at UNT, presented by William Reaves Fine Art, March 4 – 26, 2016.

An image of this painting is included in the accompanying exhibition catalogue on page 39.

Literature: Illustrated in Compton’s article, “Primitive Design Material for Creative Painting,” School Arts, June 1943.

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56 56. CARL BENTON COMPTON (Am. 1905-1981)

Woman with Blue Creature gouache on paper 14 x 18 signed lower left: C.B. Compton 42 $6,000 - $12,000 EXHIBITED: The Comptons of Texas: Rediscovered Works by Carl Benton and Mildred Norris Compton at UNT, presented by William Reaves Fine Art, March 4 – 26, 2016. An image of this painting is included in the accompanying exhibition catalogue on page 39.

Literature: Illustrated in Compton’s article, “Primitive Design Material for Creative Painting,” School Arts, June 1943.

57. MILDRED NORRIS COMPTON (Am. 1912-1976)

Landscape with Rockwalls, Cactus and House, c. 1945 watercolor on paper 12 x 15 signed lower right: Mildred Compton $2,000 - $4,000

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EXHIBITED: The Comptons of Texas: Rediscovered Works by Carl Benton and Mildred Norris Compton at UNT, presented by William Reaves Fine Art, March 4 – 26, 2016. An image of this painting is included in the accompanying exhibition catalogue on page 68.

58. MILDRED NORRIS COMPTON (Am. 1912-1976)

Fanciful Scene with Family and Animals, c. 1945 gouache and oil pastel 21 x 16 1/2 $2,000 - $4,000 EXHIBITED: The Comptons of Texas: Rediscovered Works by Carl Benton and Mildred Norris Compton at UNT, presented by William Reaves Fine Art, March 4 – 26, 2016. An image of this painting is included in the accompanying exhibition catalogue on page 68.

FINE PAINTINGS AND SCULPTURE

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59. WILFRED STEDMAN (Am. 1892-1950)

Study for Railroad Mural – James Lykes Shipping Company Houston, TX oil on canvas 25 x 30 $10,000 - $15,000 EXHIBITED:

Longview Museum and Art Center, Survey of Texas Artists, Sept. 7, 1991 - Nov 8, 1991.

Wilfred Henry Stedman was born in Liverpool, England. He was a painter, sculptor, illustrator, commercial artist and teacher. His family moved to Canada when he was a child. He apprenticed to an architect in Wisconsin before turning to art. He served in the American Expeditionary Forces in France during WWI. He remained in France after the war to study art. Stedman was a freelance illustrator in New York before moving to Colorado to study at Broadmoor Art Academy in Colorado Springs. He later directed industrial arts at the academy. Stedman was the director of the U.S. Veterans Bureau art school in Colorado Springs. He moved to Houston where he lived for ten years. He was a commercial artist and operated the Stedman School of Art with his wife Myrtle Kelly Stedman. He moved to New Mexico in 1934. He was an illustrator for the New Mexico Magazine and became the editor from 1935-1950. Stedman designed adobe homes and created numerous paintings of adobe homes. Stedman was interested both in their construction aesthetic appeal. He wrote and illustrated Santa Fe Style Homes, 1936; Cattle Trails of the Old West, 1939; and Rails that Climb, 1959. His paintings can be found in the following collections: Museum of Fine Arts Santa Fe; Denver Art Museum and the Koshare Kiva Museum in La Junta, CO to name a few. He was widely exhibited during his lifetime including Houston Local Artists Exhibition, 1925; American Art Week Exhibition, Santa Fe, 1937; and the Museum of New Mexico, 1935 to name a few. Source: Texas Artists and Artisans, 1718-1959, by Vic Roper Š 2017

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60. BOB STUTH-WADE (Am. 1953)

Crawling Down oil on masonite 20 x 16 signed lower right: Bob Stuth Wade $2,500 - $5,000

61. BOB STUTH-WADE (Am. 1953-)

From The Road Up oil on board 16 x 20 signed lower left: B. Stuth Wade $2,500 - $5,000

62. LETICIA TARRAGO (Am. 1940)

Four people in a room with pets oil on canvas 16 x 20 signed lower right: L. Tarrago $1,000 - $2,000

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63. LUCRETIA COKE (Am. 1917-2016)

Russell Ranch on the Blanco River pastel on paper 9 x 11 signed lower left: LD Newman $600 - $1,200

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FINE PAINTINGS AND SCULPTURE

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64 64. SOLOMON SALOMON (Am. 1869-1937)

Portrait of Governor James Pickney Henderson oil on canvas 15 x 12 signed lower right: S. Salomon $12,000 - $15,000

PROVENANCE: James Thomas DeShields (1861-1948); Verona DeShields Arthur, acquired from her father above by descent; Private Collection, acquired from above via Valley House Gallery.

BIOGRAPHY: Solomon Salomon was born in the port city of Kiel Prussia and came to the U.S. in 1892 and to San Antonio in 1907.

He lived in San Antonio until 1914, when he moved to Dallas. From 1907-1914 he worked for periods in Houston. Salomon was primarily a portrait painter who attracted numerous commissions. His work was exhibited at the Galveston Cotton Carnival Annual Exhibition; A Survey of Naïve Texas Artists at the Witte Memorial Museum in San Antonio, TX; the Texas Seen/Texas Made show at the San Antonio Museum of Art; the San Antonio Press Club; and Art for History’s Sake: The Texas Collection of the Witte Museum. His paintings can be found in numerous collections including: the Center for American History, Univ. of TX at Austin; Capitol Historical Artifact Collection, Austin; and the Witte Museum.

ABOUT JAMES PICKNEY HENDERSON: James Pickney Henderson was a statesman, soldier and the first governor of Texas. He was commissioned in 1836 as a brigadier general and sent to the U.S. to recruit for the TX army. He organized a company in NC and sent it to TX. In 1836 he was appointed attorney general of the republic under Sam Houston and succeeded Stephen F Austin as secretary of State. In 1837 he was appointed TX minister to England and France and commissioned to secure recognition and treaties of amity and commerce. Henderson was elected as governor of TX in 1845. With the declaration of the Mexican War, the governor asked permission of the legislature to take personal command of the troops in the field. He led the 2nd TX Regiment at the battle of Monterrey. He returned to his private law practice in 1847. Henderson served in the Senate from 1857-1858.

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66

65. JOSE ARPA (Am. 1848-1952)

Portrait oil on canvas 22 x 16 1/2 signed lower left: J Arpa $3,000 - $5,000

66. MURRAY BEWLEY (Am. 1884-1964)

Portrait of Barbara Ames oil on canvas 20 x 26 $3,000 - $5,000

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67 67. FRANK REAUGH (Am. 1860-1945)

The Watering Hole pastel on paper 3 1/2 x 7 signed lower right: F. Reaugh $12,000 - $16,000

This Frank Reaugh pastel was formerly part of Fay Lively Porter’s collection.

Fay, an Oak Cliff resident, was a devoted pupil of Mr. Reaugh. She studied painting and pastels from longhorns to landscapes in his old home place, the Ironshed Studios and on many beloved sketching trips across west Texas.

68

68. FRANK REAUGH (Am. 1860-1945)

Hereford Cattle pastel on paper 3 x 6 signed lower right: F. Reaugh $7,000 - $10,000

69. FRANK REAUGH (Am. 1860-1945)

West Texas Sunset pastel on paper 4 x 7 1/2 $7,000 - $10,000

69A. FRANK REAUGH (Am. 1860-1945)

West Cliffs of Tule Canyon, 1930 pastel on paper 4 x 7 $10,000 - $15,000

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PROVENANCE: Frank Reaugh, artist; Mrs. Charlene Cuppe acquired in 1933 from Frank Reaugh upon her graduation from Sunset High School in Oak Cliff, Dallas. She was a student of Frank Reaugh and a member of his Striginian Club (for girls age 8-13).

The painting remains in the same family collection.

69A

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Born in Carmona, Spain, José Arpa y Perea was known as “The Colorist Painter” of figures and landscapes, especially in Texas where he brought a fresh approach to San Antonio painting in his bright, sunlit local scenes. He was also an etcher, illustrator, and muralist as well as an art teacher, and he started and ended his career in Spain. His subjects include the Grand Canyon of Arizona.

He began his art study as the pupil of Eduardo Cano de la Pena at the Academy of Fine Arts in Seville and then spent six years in Rome followed by extensive travel through Africa and Europe. His reputation was solid enough that the Spanish government sent four of his paintings as part of the exhibition to the 1893 World’s Columbian Exposition in Chicago. In 1894, as an illustrator, he accompanied a Spanish army expedition to Morocco where the Spanish had been defeated by Rifi tribesmen. In the mid-1890s, he was brought to Mexico City, reportedly by a special Mexican naval vessel, to head the Academy of Fine Arts, but declined the position once he understood the responsibilities. Instead he joined one of his Spanish schoolmates and went to his home in Puebla, Mexico, where his use of bright colors earned him the name of “Sunshine Man.” He became close to the children of this man, and in 1903, accompanied them as a guardian to school in San Antonio. After twenty years of traveling in Spain, Mexico, the Southwest, and South America, Arpa settled in 1923 in San Antonio, Texas, where he became Director of the San Antonio Art School and painted bright, sun-filled landscapes. He taught landscape and portrait painting and was exceedingly prolific, and several San Antonio collectors accumulated large numbers of his works. Among his close artist friends were Robert and Julian Onderdonk, Tom and Joe Brown, and Charles Simmang. They were members of a San Antonio group who painted together and called themselves the “Brass Mug Club.”

70. JOSE ARPA (Am. 1858-1952)

San Antonio Near Calaveras oil on canvas 18 x 24 signed lower right: Jose Arpa, San Antonio, Texas $75,000 - $125,000

In 1932, he returned to Seville where he stayed for the next twenty years until his death, reportedly at age ninety-four.

SOURCE: Harold and Peggy Samuels, Encyclopedia of Artists of the American West; John and Deborah Powers,

Texas Painters, Sculptors,

and Graphic Artists

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71. JULIAN ONDERDONK (Am. 1882-1922)

Bluebonnets Late Afternoon, San Antonio, TX 1922 oil on board 9 x 12 signed lower left: Julian Onderdonk $80,000 - $110,000

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PROVENANCE: Mr. and Mrs. Pierre Marcel Schlumberger LITERATURE: This painting is illustrated on page 286, catalogue number: 1176 of the book Julian Onderdonk: A Catalogue Raisonne,

by: Harry Halff (c) 2016 Julian Onderdonk, a native Texan born into a family of artists, has risen to become one of the foremost American impressionist painters to date. His work is included in and the subject of over 35 published books, and this painting is included in the most recent book, which is the catalogue Raisonne of his work, written and compiled by Harry Halff in 2016. Onderdonk’s paintings were widely exhibited across the country throughout his lifetime. Posthumously and most recently there have been several major retrospectives at the Museum of Fine Arts, Houston; The Dallas Museum of Art; and the San Antonio Museum of Art. His paintings can be found in the following permanent collections: El Paso Museum of Art; Witte Memorial Museum; Crystal Bridges Museum; Stark Museum of Art; Morris Museum of Art, Augusta, GA; Ogden Museum of Southern Art, New Orleans; Amon Carter Museum of Art; LBJ Library and Museum; Museum of Fine Arts, Houston; Los Angeles County Museum of Art; Meadows Museum, Southern Methodist University; and Dallas Museum of Art; to name a few.

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72 72. ROBERT JENKINS ONDERDONK (Am. 1852-1917)

Sunset Through the Trees oil on canvas 20 x 24 signed lower left: RJ Onderdonk $15,000 - $25,000

73. ROBERT JENKINS ONDERDONK (Am. 1852-1917)

Mexican Water Cart, San Pedro Creek, San Antonio oil on canvasboard 9 x 12 signed on reverse: R.J. Onderdonk, Mexican Water Cart, San Pedro Creek, San Antonio $3,000 - $6,000

74. ROBERT JENKINS ONDERDONK (Am. 1852-1917)

Portrait of Boy pen and ink on paper 6 3/4 x 10 1/2 signed lower left: RJO $2,000 - $4,000

75. ELEANOR ONDERDONK (Am. 1884-1964)

Landscape oil on board 9 x 12 signed lower left: ER Onderdonk $4,000 - $8,000

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76

76. EDWARD EISENLOHR (Am. 1872-1961)

Cliffside Home, c. 1925 oil on canvas 16 x 20 signed lower right: E.G. Eisenlohr $25,000 - $35,000

Dallas Museum of Fine Arts label attached to the back.

PROVENANCE: Edward Eisenlohr (artists); Eisenlohr’s neighbor in Dallas, TX acquired from above, artist; Private Collection, acquired from above.

Edward Eisenlohr was born in Cincinnati, Ohio in 1872. His family moved to the Oak Cliff area of Dallas, TX in 1874. He won a first prize award at the 1886 State Fair of Texas for a pencil drawing. His family wanted their children to have a broad and well traveled education and they moved to Europe in 1887. They returned in 1888. Eisenlohr worked as a bookkeeper and teller at the American Exchange Bank after the family returned to Dallas. He remained in that position until 1907. From 1889-1907 in the summers he studied with Robert Jenkins Onderdonk and Frank Reaugh. He studied at the Art Students League Summer School in Woodstock, NY; Lowell Birge Harrison; Academy Karlsruhe, Germany; Granducal Academy of Fine Arts in Karlsruhe with Heinrich Wilhelm Trubner.

Upon returning to the US, he studied art in New York and Europe. Returning to the US to create art in Santa Fe, NM for six months of the year from 1916-1926.

He was considered one of the pioneer landscape painters of Texas and one who had an exceptional ability to paint cloud and atmospheric effects. In his later years he traveled the state to lecture on art and to teach painting workshops. Eisenlohr’s work has been widely exhibited: State Fair of Texas; Panama-Pacific International Exposition in San Francisco, CA; Houston Art League; Museum of Fine Arts Santa Fe, NM; Cincinnati Art Museum; Texas Artists Exhibition in Fort Worth, TX; Edgar B. Davis Wildflower Competition; Dallas Allied Artists Exhibition; and Texas Centennial Exhibition to name a very few. His work can be found in the following permanent collections: Dallas Museum of Art; Delgado Museum, New Orleans; Museum of Fine Arts Santa Fe, NM; Stark Museum in Orange, TX; Panhandle-Plains Historical Museum, Canyon, TX; Dallas Historical Society; Oak Cliff Public Library; Elisabet Ney Museum in Austin, TX; Museums of Abilene, TX; Texas Federations of Women’s Clubs in Austin, TX; Museum of Fine Arts, Houston, TX; San Antonio Art League; The Grace Museum Abilene, TX; and the Texas Fine Art Association in Austin, TX. Source: Texas Artists and Artisans, 1718-1959, by Vic Roper © 2017 NOTE:

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Eisenlohr painted this for his neighbor depicting the neighborhood where they resided in Oak Cliff of Dallas, TX.

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77 77. EDWARD EISENLOHR (Am. 1872-1961)

Untitled, Landscape oil on board 10 x 13 3/4 signed lower right: E.G. Eisenlohr $6,000 - $12,000

78. EDWARD EISENLOHR (Am. 1872-1961)

Untitled, 1899 oil on board 12 1/2 x 9 1/2 signed upper right: Eisenlohr ‘99 $6,000 - $12,000

79. JERRY BYWATERS (Am. 1906-1989)

The Deserted Cabin oil on board 12 x 16 signed lower right: Gerald Bywaters Cass, Arkansas, 1929 $2,500 - $5,000

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80

80. CHARLES T. BOWLING (Am. 1891-1985)

Roving Clouds, 1962 watercolor on paper 8 x 10 signed lower right: Chas. T. Bowling, 1962 $1,000 - $2,000 81

81. REVEAU BASSETT (Am. 1897-1981)

Bluebonnets oil on canvas board 12 x 16 signed lower right: Reveau Bassett $1,000 - $2,000

82. REVEAU BASSETT (Am. 1897-1981)

Landscape oil on canvas board 12 x 16 signed lower left: Reveau Bassett $1,000 - $2,000

83. EMIL BISTTRAM (Am. 1895-1976)

Untitled Abstraction 1 charcoal on paper 15 x 19 1/2 signed lower right: Emil Bisttram $1,500 - $3,000

82

84. EMIL BISTTRAM (Am. 1895-1976)

Untitled Abstraction 2 charcoal on paper 15 x 19 1/2 signed lower right: Emil Bisttram $1,500 - $3,000

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84

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85 85. DAWSON DAWSONWATSON (Am. 1864-1939)

Cotton Barge at Night, 1928 watercolor on paper 13 3/4 x 15 signed lower right: Dawson-Watson $2,000 - $3,000

86 86. DAWSON DAWSONWATSON (Am. 1864-1939)

Hill Country Trail oil on board 9 x 6 1/4 signed lower right: Dawson-Watson $2,500 - $5,000

87. EMMA RICHARDSON CHERRY (Am. 1859-1954)

June in the Chaparral oil on board 14 x 16 3/4 signed lower right: E Richardson Cherry $3,500 - $6,500

88. SETH FLOYD CREWS (Am. 1873-1958)

Portrait of a Woman oil on canvas 40 x 30 signed lower right: Floyd Crews $1,000 - $2,000

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89 89. OLIN HERMAN TRAVIS (Am. 1888-1975)

Passer By oil on canvas 24 x 32 signed on reverse: Passer’s By, OT symbol, Olin Travis #362 $5,000 - $10,000

Olin Herman Travis was a Texas artist who had many ties and connections to Dallas artists as an instructor to many of the top artists in the area, and Travis was one of the most widely exhibited talents in Texas. The following information is from the book: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers: Born and reared in Dallas, Travis attended public schools there. In his youth he received instruction from R. Jerome Hill, Florence Rhine, Hans Krunz-Meyer, and Max Hagendorn. At the urging of Clyde Giltner Chandler, Travis enrolled in 1909 in the Art Institute of Chicago where he studied five consecutive years before becoming an associate instructor at the institute in 1914. His teachers included Kenyon Cox, Charles Francis Browne, Ralph Elmer Clarkson, Harry Mills Walcott, and Joaquin Sorollo y Bastida. Travis worked briefly thereafter as a commercial artist and as an instructor at the Chicago Commercial Art School.

In 1924 Travis moved to Dallas with his wife, Kathryne Hail Travis, one of his former students whom he had married in 1916. In 1926, with James Wadden, the couple founded the Dallas Art Institute, and later, in Cass, Arkansas, the Ozark Summer School of Painting, which they operated for three summers. Kathryne and Olin Travis were divorced in 1934. His second wife was Josephine Oliver.

For many years Olin Travis was head of the Dallas Art Institute (1926 - 1941). He painted along the Texas coast on several trips around 1930, and in the summer of 1933, he traveled to West Texas in Frank Reaugh’s sketching caravan.

Travis taught two years as a guest instructor at the San Antonio Art Institute (1944 - 1945), and a year at Austin College, Sherman (1951). He also taught several summers at the Texas Artists Camp at Christoval. A prolific painter, he recorded landscapes, Dallas scenes, and figures from the 1920s until his death in Dallas. The Dallas Public Library’s Technicolor film entitled Olin Travis: A Visit to His Studio shows the artist at work and many of his paintings.

SOURCE:

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Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

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90 90. OLIN HERMAN TRAVIS (Am. 1888-1975)

Mulberry Valley, Autumn oil on canvas 20 x 24 signed lower right: Olin Travis $4,000 - $8,000

91. OLIN HERMAN TRAVIS (Am. 1888-1975)

Fains Creek, Arkansas, Summer 1923 oil on board 12 x 16 signed lower right: Olin Travis $2,000 - $4,000

92. OLIN HERMAN TRAVIS (Am. 1888-1975)

Fall Wooded Landscape oil on board 12 x 16 signed lower right: Olin Herman Travis $2,000 - $4,000

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93 93. CARL LINDIN (Am. 1869-1942)

The Cloud, c. 1935 oil on canvas 40 x 50 signed lower right: Carl Lindin $30,000 - $50,000

Carl Lindin was born in Sweden in 1869 and moved to the U.S. in 1887 to study at the Chicago Art Institute. He then traveled to France in 1893 and subsequently studied with Benjamin Constant and Jean-Paul Laurels at the Academie Julien. Lindin moved to Woodstock, NY and founded the Woodstock Artists Association with artist Hervey White. He served on the board of the Woodstock Friends of Art foundation to provide aid for artists struggling as a result of the Depression and was active in Works Progress Administration projects. His paintings are known for their luminosity as he described himself as a “painter of moonlight and night.� This painting exemplifies that post-impressionist style and heavily painted technique.

94. PAUL SCHUMANN (Am. 1876-1946)

94

View of Galveston oil on masonite 16 x 20 signed lower right: Paul R. Schumann $20,000 - $30,000

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95 95. PAUL SCHUMANN (Am. 1876-1946)

Wave oil on canvas 16 x 22 signed lower right: Paul R. Schumann $6,000 - $12,000

96. WALTER GRANVILLESMITH (Am. 1870-1938)

Texas Oil Wells, 1927 oil on canvas 30 x 40 signed lower left: Granville-Smith 1927 $4,000 - $6,000

Paul Richard Schumann was born near Leipzig, Germany. Schumann and his family moved to Indianola, Texas in 1879 and to Galveston in 1881. He lived in Galveston the remainder of his life except for a short period in San Antonio in 1923. His first studio was destroyed during the Galveston Hurricane of 1900. Schumann rebuilt the studio and taught art locally. His drawing of the Galveston Causeway was reproduced by J.M. Mauer in 1910; it was printed on over one hundred thousand post cards, which were sold nationally. He specialized in marine painting of the Texas Gulf Coast. He studied art in New York in 1921. Schumann painted across the country, primarily east and west coast, New Mexico and Arizona. Schumann often used a palate knife to not only apply paint but also to paint directly on the canvas, giving his paintings unique texture. He was most prolific in his coastal subject matter and is known as a preeminent Texas marine painter of his time.

SOURCE: Texas Artists and Artisans 1718-1959, by Vic Roper Š 2017

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98 97. PORFIRIO SALINAS (Am. 1910-1973)

Texas Bluebonnets at Sunset oil on canvas 20 x 30 signed lower left: P. Salinas $40,000 - $60,000

98. PORFIRIO SALINAS (Am. 1910-1973)

Hill Country Huisache oil on canvas 20 x 24 signed lower left: Porfirio Salinas $12,000 - $18,000 PROVENANCE:

Porfirio Salinas, artist; Estate of Judge John D. Cofer, current, acquired from above.

99

98: Judge John D. Cofer of Austin, TX was LBJ’s personal assistant. Judge Cofer represented LBJ in the famous Ballot Box 13 voting scandal in South TX, which helped launch his political career. In the military Judge Cofer landed on Omaha Beach D-day June 6,1944.

He was assigned to General George Patton’s 3rd Army. He was promoted to Colonel, served on the Nuremberg Trials and afterwards appointed military Governor of part of Germany. Cofer served as Billy Sol Estes’ lawyer. In the 1960’s. “Hill Country Huisache” was Cofer’s favorite painting, purchased directly from the artist. “The ‘smoke’ rising from the chimney, is from the home of a relative of Salinas.”

INFORMATION FOR LOT

99. PORFIRIO SALINAS (Am. 1910-1973)

Autumn Landscape oil on canvas 24 x 30 signed lower left: Porfirio Salinas $12,000 - $18,000

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100 100. PORFIRIO SALINAS (Am. 1910-1973)

Autumn oil on canvas 20 x 30 signed lower left: P Salinas $20,000 - $30,000

101. PORFIRIO SALINAS (Am. 1910-1973)

Cactus oil on canvas 12 x 16 signed lower left: Salinas $6,000 - $12,000

102. PORFIRIO SALINAS (Am. 1910-1973)

River Scene oil on canvas 25 x 30 signed lower left: Porfirio Salinas $25,000 - $30,000

101

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103

104 103. PORFIRIO SALINAS (Am. 1910-1973)

Enchanted Rock oil on canvas 30 x 40 signed lower left: Porfirio Salinas $35,000 - $50,000

104. PORFIRIO SALINAS (Am. 1910-1973)

Coreopsis oil on canvas 30 x 40 signed lower left: Porfirio Salinas $30,000 - $40,000

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105

106

105. PORFIRIO SALINAS (Am. 1910-1973)

Cactus and Cattle oil on canvas 12 x 16 signed lower left: Porfirio Salinas $6,000 - $12,000

107 106. PORFIRIO SALINAS (Am. 1910-1973)

A Cabin in the Texas Landscape oil on masonite 8 x 10 signed lower right: Porfirio Salinas $5,000 - $10,000

107. PORFIRIO SALINAS (Am. 1910-1973)

Autumn oil on masonite 9 x 12 signed lower right: Porfirio Salinas $6,000 - $8,000

108. PORFIRIO SALINAS (Am. 1910-1973)

Bullfighter, #1 oil on canvasboard 16 x 12 signed lower left: P. Salinas $2,000 - $4,000

109. PORFIRIO SALINAS (Am. 1910-1973)

108

109

Bullfighter, #2 oil on canvasboard 16 x 12 signed lower left: P. Salinas $2,000 - $4,000

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110 110. ROBERT WOOD (Am. 1889-1979)

Texas Bluebonnets oil on canvas 25 x 30 signed lower left: Robert Wood $25,000 - $35,000

111. ROBERT WOOD (Am. 1889-1979)

Cactus Landscape oil on canvas 12 x 16 signed lower left: Robert Wood $5,000 - $10,000

112. ROBERT WOOD (Am. 1889-1979)

Mountain Scape oil on canvas 25 x 30 signed lower left: Robert Wood $3,000 - $6,000

111

112

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113 113. FRANZ STRAHALM (Am. 1879-1935)

Spirit of Texas, 1922 oil on canvas 24 x 32 signed lower left: Franz Strahalm; on verso: The Spirit of Texas $6,000 - $8,000 PROVENANCE: Franz Strahalm (artist); The Strahalm/Asch Family Collection (current) acquired from above in 1922 by descent.

EXHIBITED: Dallas Woman’s Forum Art Exhibition (exhibition label on reverse)

114. FRANZ STRAHALM (Am. 1879-1935)

Untitled, Landscape oil on board 5 x 7 signed lower right: Franz Strahalm $1,000 - $2,000

115. ELLA K. MEWHINNEY (Am. 1891-1962)

Red Buds in Spring oil on canvas 20 x 24 signed lower right: Ella K. Mewhinney $4,500 - $8,500

114

116. PETER HOHNSTEDT (Am. 1871-1957)

Untitled oil on canvas 21 x 27 signed lower left: Peter Hohnstedt $3,000 - $5,000 This painting is illustrated on page 128, cat. No. 73 of the Book: Dictionary of Texas Artists

115

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117

118

117. ROLLA SIMS TAYLOR (Am. 1872-1970)

Water Lilies at Sunset oil on canvas 16 x 20 signed lower left: Rolla Taylor $3,000 - $6,000

118. ROLLA SIMS TAYLOR (Am. 1872-1970)

Bluebonnets, 1923 oil on canvas 16 1/2 x 22 signed lower left: Rolla Taylor, 23 $1,500 - $3,000

119. ROLLA SIMS TAYLOR (Am. 1872-1970)

Bluebonnets oil on canvas 24 x 32 signed lower left: Rolla Taylor $6,000 - $8,000

119

120. ROLLA SIMS TAYLOR (Am. 1872-1970)

Untitled, Mountain Scene oil on canvas 20 x 24 signed lower right: Rolla Taylor $2,000 - $4,000

120

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121 Ralph Shenault Rowntree was a native of Stamford, TX. He studied at Southern Methodist University; the Dallas Art Institute; with Dallas artist, Olin Travis; and the California School of Fine Arts in San Francisco. He studied in China, Japan, India and England in the years of 1924-1928. Rowntree taught art for a period at Southern Methodist University, Dallas from 1926-1933. He traveled with Jerry Bywaters to France and Spain in 1926. Rowntree was awarded a Louis Comfort Tiffany Foundation Fellowship in 1929. He taught art for the Floating University, which was a cruise ship that toured the world in 1930. He moved to New York City just after 1933.

Many of his creations were oriental subjects. Rowntree traveled to Mexico for art study. He purchased a home in Austin, TX. Rowntree headed the visual arts department at Kelly Field, San Antonio during WWII. After the war, he devoted his time to portrait painting. Rowntree lived in San Francisco, CA in the 1950’s. He maintained a home in San Antonio from the 1960’s until his death.

121. RALPH ROWNTREE

122

123. INEZ STAUB ELDER

(Am. 1889-1992)

Still Life pastel on paper 21 x 17 signed upper right: Ralph Rowntree ‘58 $4,000 - $6,000

122. RALPH ROWNTREE (Am. 1889-1992)

Still Life pastel on paper 28 x 22 signed upper right: Ralph Rowntree ‘58 $4,000 - $6,000

(Am. 1894-1991)

Cherry Blossoms oil on paper 11 x 9 1/2 signed lower right: Elder $1,000 - $2,000

124. ETHEL SPEARS (Am. 1903-1974)

Sunflowers and Kingfisher oil on canvasboard 20 x 10 signed lower left: Ethel Spears Still Life $400 - $800

123 125. ETHEL SPEARS (Am. 1903-1974)

Still Life with Glads oil on canvasboard 20 x 10 signed lower right: Ethel Spears $400 - $800

126. MAY SCHOW (Am. 1895-1976)

Magnolia Still Life, 1946 watercolor on paper 18 x 23 signed lower right: May Schow 1946 $400 - $800

124

125

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127 127. DAVID BATES (Am. b.1952)

Baton Rouge, Portrait of 1990 oil on canvas 76 x 48 signed lower right: Bates $120,000 - $150,000 PROVENANCE:

Charles Cowles Gallery, New York, NY; Private Collection, Hawaii; Arthur Roger Gallery, New Orleans, LA. , LA; Private Collection, acquired from above.

This portrait of a woman Bates met while in Louisiana encompasses the undeniable amalgamation of modern, outsider, folk, naïve, regional, and classical styles that influence and shape Bates’ powerful and identifiable style. Charles Cowles Gallery in New York was one of the first galleries to represent David Bates’ work in the early 1980’s, and this painting was exhibited in a one-man show at the gallery in 1990 along with 14 other paintings. The painting is reproduced as color plate number 3 in the catalogue from that show, David Bates Nov 6-24, 1990. Ronny Cohen wrote an essay on Bates in this catalogue and describes the artist’s inspiration, subject choice and technique in this painting: “startling clarity of his composition is underscored by the crisp and outlined edges of planes, and use of stark highlights and shadows to intensify tensions between linear and more fully modeled handling of form.” Cohen goes on to describe Bates’ powerful rendering of the sitter: “[Bates’ style] can be found in the slopes of the shoulders and angles of the elbows and hands that give the woman portrayed… that specific placement in the composition that fixes her image in the mind’s eye in such a way as to convey the strength Bates has seen in this individual that he met in Louisiana and is sharing with the viewer.”

Justin Spring wrote an essay for the book, David Bates © 2007, Modern Art Museum of Fort Worth, for which he researched and interviewed the artist and others for over two years. Spring describes 1983, when Bates first visited Grassy Lake with Claude Albritton as a turning point in his career. As Albritton’s guest to this magical bio-dome of birds, fish, reptiles, and other critters flourishing in a swamp canopied by ancient cypress, Bates had the rare opportunity to experience this calm coexistence with the wilds and the rare beauty of this unique setting. This sparks an epiphany of inspiration to a series of powerful depictions of the Southern landscape and portraits of passionate and calm souls. Spring goes on to describes Bates portraits in general as, “intimate, half-length seated figures in frontal poses. This format allows the viewer a closer, more intimate encounter with the subject matter and at the same time gives the artists the opportunity to use his expressive brushwork more effectively in the portrayal of the faces and hands.” The sitter is, “framed against a deep landscape that somehow defines or describes [him]”, the woman in this painting, seated in her Adirondack chair with golden pieces and shards of light in the background dramatically framed in the dark branches of the magnolia tree, Bates defines her place. Through his career, Bates ventures across state lines to find more inspiration in the identifiably unique natural geographical phenomena of the South.

This painting combines many breakthrough and signature strengths in Bates’ work: texture, portraiture, still life, geographical identification, and commentary on the human condition. Spring notes that in the early 1990’s many of Bates’ works, “are painted so thickly that their impasto approximates relief.” This painting encompasses that sculptural aspect with the heavy layers and dramatic strokes of paint. 1990 marks a time when Bates begins to paint more floral still lifes, which are a nod to his mother’s passion for arranging. Spring defines Bates’, “flowers are among the most hefty and energized in the history of American painting.” In this painting the magnolia defines the geographical local of Louisiana. Her face has a peaceful knowing about her. Her white hair portraying her wisdom; the soft warm pinks of her shirt behind the bold, powerful starburst shape of the magnolia blossom uphold her strength of feminine spirit in the work. She is framed in the weathered calm of the white washed wood in the Adirondack chair and pale warm tones of the paneled pieces of wood in the tabletop. These linear shapes and soft fresh light tones seem to frame the sitter; setting the tone of this peaceful site, and at the same time the branches and light depicting the robust wilderness and its relationship with American South.

SOURCES: David Bates, by: Justin Spring © 2007, Modern Art Museum of Fort Worth in association with Scala Publishers; David Bates (exhibition catalogue); Nov

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128 128. MICHAEL GORDON OWEN, JR. (Am. 1915-1976)

Untitled, Leadbelly and The Artist, c.1943 oil on canvas 74 x 67 signed lower right: Michael G. Owen $80,000 - $150,000 PROVENANCE: Collection

of the Artist; Kenneth Foreman Collection, NC, acquired from above; Private collection, current.

NOTE: For a larger detailed view of this painting, please see the inside front cover of this catalogue.

Michael Gordon Owen, Jr. was an animal and figure sculptor, painter, craftsperson and illustrator. He was born and raised in Dallas, graduated from Highland Park High School and was a student at the Dallas Art Institute from 1932 to 1935.

In Rick Stewart’s distinguished book: Lone Star Regionalism he describes Owen’s early development as an artist. He describes him as one of the artists more attuned to the local regionalist developments. This observation is exemplified in this exceptional regional work. Stewart explains Owen was: “a precocious and energetic artist from Oak Cliff… He studied painting with Jerry Bywaters while still in high school and in 1934 served as a painter for the Civilian Conservation Corps at their camp in Uvalde.” Owen worked on the Texas Centennial Exhibition as assistant to many of the sculptors; these works that can still be seen at Fair Park in Dallas today. Stewart explains that Owen sculpted animals and exhibited many powerful works of art, many of which are lost. He studied in New York and at the Commonwealth College in Mena, Arkansas. He became a designer for Southern Potteries in Dallas, and during World War II worked as an illustrator in the Navy Yard in Washington DC. Owen was a prolific artist. His work is found in numerous collections including his sculpture of Peruna (1937), SMU’s mustang mascot that still stands in the university’s football stadium. Dale Heard of Dallas also had Owen’s work in her collection. He exhibited at the Allied Arts Exhibition and won a prize. He is mentioned in the 1944-45 “contemporary artist” in the catalogue, The Texas Panorama Exhibition for the show that circulated on the national tour by the American Federation of Art. His work was exhibited and included in numerous exhibitions, their catalogues and books including: A Handbook of American Painting and Sculpture in the Collection of the Dallas Museum of Fine Arts, 1951; Twelfth Annual Exhibition of Texas Painting and Sculpture, San Antonio, Houston and Dallas 1950-1951; Art of The Americas, Pre-Columbian & Contemporary, DMA 1937 and The Art of Texas 250 Years, edited by Ron Tyler © 2019. He also exhibited in the one man retrospective, Michael Gordon Owen, Jr. at the Smith Gallery in Davidson, NC in 1999; Texas Centennial Exhibition; Dallas Allied Arts Exhibition; Lone Star Printmakers; Kansas City Art Institute; Society of Washington Artists; Dallas Times-Herald Fair; and the Texas General/Texas Painting and Sculpture Exhibition, Society of Washington Artists, and the Baltimore Museum of Art in 1945. It is in these exhibitions and catalogues that Owen is included along side some of the most important Texas regionalists, Jerry Bywaters, Alexandre Hogue, Charles T. Bowling, Everett Spruce, Perry Nichols, Russell Vernon Hunter and Tom Stell to name a few. His work can currently be found in the collection of the Dallas Museum of Art, SMU and the Corcoran Gallery of Art in Washington, D.C. This painting passionately depicts the human relationships of family and friendship. The figures and clothing are depicted in rich color with rounded and bulbous shapes and hard-edged lines, paramount to American regional style. The guitar symbolizes the unifying aspect of music, which brings the strength and unity of the figures together, while the wild, windy and dark atmosphere whipping over the barren and cut hills in the background give the viewer a sense that they’d like to remain close and listen to the sounds emitted from the guitar in the painting.

We know the man seated at left with the guitar is Leadbelly, who is the historical figure and musician, Huddie “Leadbelly” Ledbetter (Am. 1888-1949), who later became known as the “king” of the twelve-string guitar. He had a tenuous relationship with the law, being incarcerated three times for breaking the law and murder.

After serving time, Leadbelly went on to tour the nation, influencing many great folk artists. In researching through a portion of the Owen’s archives, two portrait sketches for this painting were discovered. A sketch of the woman standing was found in a folio, however her identity remains unknown. A sketch of the same man standing at the right depicted in this same profile position was in the same folio. A photocopy of a self-portrait of Michael Owen painted in 1943 bears an identical likeness to this sketch, and we presume this man, standing strong at right is in fact the artist. Owen draws on the classical art device famously used by Diego Velazquez in his 1656 portrait, Las Meninas by including himself in this painting. We remain to wonder what his relationship is to the group. The infant in the foreground holds the viewers attention and brings us in with eye contact. We presume Owen includes himself signifying his great friendship and admiration for Leadbelly and his music. They knew each other as a result of Leadbelly playing music in Deep Ellum district of Dallas in the 1920’s. In 1943, Owen sculpted the famous black serpentine bust of Leadbelly, which remains in the DMA’s permanent collection. The painting is full of symbolism and devices, the cave at middle left in the background, the careful placement of each figure, all balanced with Owen’s use of the golden ratio, positioning the figures in a triangle with the guitar piercing the center, the women and children, the strong men flanking the scene. This theme of mother and child, and men as symbols of strength recurs in Owen’s work.

SOURCES: Texas Artists and Artisans 1718-1959, by Vic Roper © 2017; A Handbook of American Painting and Sculpture in the collections of the Dallas Museum of Fine

Arts, DMA 1951; Texas Panorama: An Exhibition of Paintings by Twenty-Seven Artists, DMA 1943; No-Jury Exhibition [Checklist], DMA 1938; Catalogue of the Exhibition of Art of the Americas: Pre-Columbian and Contemporary, DMA,1937; https://collections.dma.org/artwork/ 3058187; https://collections.dma.org/essay/29JL4JEe. FINE PAINTINGS AND SCULPTURE

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129 129. MICHAEL GORDON OWEN, JR. (Am. 1915-1976)

Los Esclavoc, 1962 terra cotta sculpture 35 x 23 x 19 signed on sculptural base: Michael Owen, 1962 $10,000 - $15,000 PROVENANCE: Collection of the Artists; Kenneth Foreman Collection, NC acquired from above; Private collection, current.

EXHIBITED: Michael Gordon Owen, Jr., Smith Gallery, Davidson, NC Oct 6-29, 1999 (and pictured on the cover of the exhibition invitation)

130. ROBERT ORMEROD PREUSSER (Am. 1919-1992)

Mayan Antiquity, 1953 oil on canvas 16 x 30 signed lower left: Preusser 54 $15,000 - $25,000

130

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“Preusser was an award-winning pioneer of abstraction during a time when Texas art was dominated by regionalist styles.

He began studying at age eleven in Houston with Ola McNeill Davidson (1930), and later with Lazlo Maholy-Nagy at his progressive “New Bauhaus” Institute of Design in Chicago (1939-1942). After serving in the U.S. Army during World War II he studied at the Los Angeles Art Center School (1946-1947). Preusser returned to Houston in 1947 and remained there until 1954, when he accepted a teaching position at MIT. In Houston, he became a key figure in the burgeoning art community, teaching at the Museum School of the MFAH (1947-1954), working as associate curator of education at the MFAH (1952-1954), serving as a founding member of the Contemporary Arts Association (1948, now the CAM) and later as co-director (1949-1951), and teaching at the University of Houston (1951-1954).

After moving to Massachusetts, Preusser taught at MIT until his retirement in 1985. Although Preusser spent most of his life in Texas and Massachusetts, he was known throughout the nation; Edith Halpert identified him as one of five young promising American painters for her Downtown Gallery in New York (1950).” Biography written by and sourced from Katy Robinson Edwards’ book: Midcentury Modern Art in Texas © 2014.

131. ROBERT ORMEROD PREUSSER (Am. 1919-1992)

Dwarf Dwellings, 1937 oil on masonite 36 x 38 signed lower left: Robert Preusser 1937 $20,000 - $30,000

EXHIBITED: Left Bank on the Bayou, Houston Avant-garde Art and Theatre in the 1930’s at the O’Kane Gallery of Univ. of Houston-Downtown Sept 4-Oct 16, 2014; and illustrated on page 40 of the exhibition catalogue.

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132 132. BEN L. CULWELL (Am. 1918-1992)

Untitled, 56-11; 1958-1977 mixed media on board 36 x 48 signed all four corners: BLC $10,000 - $15,000

133. BEN L. CULWELL (Am. 1918-1992)

No 56-2. 1956 oil and mixed media on masonite 48 x 24 signed in two corners: BLC $6,500 - $9,000

133

Ben Culwell was a major figure within the first generation of Abstract Expressionism, a movement which began in the early 1940s and became a dominant style in American painting from the late 1940’s into the 1950s. Culwell, whose career was based in Texas, continued to develop his body of Abstract Expressionist paintings into the later 20th century.

Culwell was born in San Antonio, Texas in 1918. His family moved to Dallas in 1934. He studied at the Dallas Art Institute and then Southern Methodist University. He went on to study at Columbia University in New York in 1936 for one year and then returned to Dallas. He served in the U.S. Navy in the Pacific on the USS Pensacola from 1942-1944. His experiences during the war had a profound impact on Culwell and he recorded this in diaries and reflected it in his works created at the time.

After the war he had a solo exhibition at the Dallas Museum of Art under the direction of Jerry Bywaters. In 1946 he was included in the show Fourteen Americans at MoMA under the direction of Dorothy C. Miller along side Robert Motherwell, Arshile Gorky, and Isamu Noguchi.

Ben Culwell’s paintings have been featured in important institutional exhibitions, including: Dallas Museum of Art (Solo-1945); Museum of Modern Art (Group-1946); San Antonio Men of Art Guild (Solo-1959); Dallas-Fort Worth Men of Art Guild (Solo-1959); Owen Art Center at Southern Methodist University & other Texas museum venues (Group-1971); McNay Art Museum (Retrospective Solo-1977); Archer M. Huntington Art Gallery at the University of Texas Austin & other Texas museum venues (Group-1983); The Menil Collection (Solo-1987); Cultural Activities Center Temple (Retrospective Solo-1978 & 1989); and Museum of Fine Arts Houston (Group-1995 & 1996). His works are in the collections of the mentioned museums and in notable corporate and private collections.

SOURCES: Fourteen Americans, Museum of Modern Art, 1946. (Curated by Dorothy C. Miller, ed./ with statements by the artists); Midcentury Modern Art in Texas, Katie Robinson Edwards © 2014 UT Press

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Seymour Fogel studied at the National Academy of Design in New York and the Art Students League under Leon Kroll and George Brandt Bridgeman where he mastered realism and executing the human form. Diego Rivera took him on as an assistant to complete a mural at Rockefeller Center. In the 1930’s Fogel traversed the country by train rendering imagery from the Great Depression, these works have landed in collections such as the National Gallery in Washington, D.C. and the Ogden Collection in New Orleans, LA. The Works Progress Administration commissioned him several projects in New York, Washington D.C., Minnesota and Arizona, as a result his figurative works from the 1930’s focused on social realism. In 1946 started his professorship in the art department at the University of Texas at Austin where he joined the ranks of forward thinking modernist painters. This first decade of modernist outpouring included 6 series: pastiche, mother and child, seraphic, limestone, flagellant, and multi-style. This painting fits in the “pastiche” style, conveying styles of his greatest influences of this time both cubist Pablo Picasso and color palate of Piet Mondrian; Fogel draws on both to create his own style. Picasso’s stylistic influence on Fogel work in this painting are uncanny.

This marks his first foray into modernism, which Fogel mastered in this period and beyond.

134. SEYMOUR FOGEL (Am. 1911-1984)

Untitled, 1951 oil on masonite 48 x 48 signed lower right: Fogel ‘51 $30,000 - $50,000

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135 135. SEYMOUR FOGEL (Am. 1911-1984)

City in the Rain, 1955 oil on board 50 x 40 signed lower left: Fogel $25,000 - $35,000 PROVENANCE:

Seymour Fogel gave this painting, along with several other paintings, to his close friend and dealer in New York. This art dealer left her paintings to her son.

The son now lives in California. This painting was purchased by a private collector in Dallas from the son; Private Collection, Dallas, TX current.

EXHIBITED:

1958 Fogel Solo Exhibition at the McNay Institute, San Antonio, Texas; Texas Modernists, Seymour Fogel: On the Wall and Beyond, The Abstract Impulse, May 28 - Oct 24, 2015 at the Grace Museum

ILLUSTRATED:

page 33, plate no 28 of On the Wall and Beyond, The Abstract Impulse, Judy Deaton & Katie Robinson Edwards (c) 2015

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Alexandre Hogue is highly regarded as an important American Regionalist artist; his subject matter are often tied to his passion and concern for the decline of earth’s most precious resource, water. His paintings have an individual style that makes them stand out from the typical American Regional aesthetic; they often seem to incorporate patterns in the forms of rippled earth that appear to have been created by earths wind patterns, the natural carving of water’s flow, or man made farming. This painting executed in 1976 embodies these earlier hard edge line techniques used in his more regional paintings. The pastel application of color combined with the almost minimalistic cliff sides in the background express Hogue’s more modern approach during this period.

136. ALEXANDRE HOGUE (Am. 1898-1994)

Calligraphic Flood No. 2 pastel on paper 20 x 28 1/2 signed lower right: Alexandre Hogue, 1976 $40,000 - $60,000

Hogue’s work has been exhibited alongside great American painters such as Grant Wood, Thomas Hart Benton, Edward Hopper, Georgia O’Keeffe and Marsden Hartley to name a few. Hogue’s paintings can be found in the following permanent collections: Crystal Bridges Museum of American Art; Fine Arts Museum San Francisco; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Phillips Collection; Whitney Museum of American Art; The San Diego Museum of Art; Amon Carter Museum of American Art; Los Angeles County Museum of Art; Gilcrease Museum; Museum of Fine Arts, Houston; Oklahoma City Museum of Art; Philbrook Museum of Art; Smithsonian American Art Museum; The University of Arizona Museum of Art; Weatherspoon Art Museum; and the Dallas Museum of Art. Hogue’s work is included in and the subject of over 74 published books.

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137 137. OTIS DOZIER (Am. 1904-1987)

Caddo Lake oil on canvas 30 x 40 signed lower right: Otis Dozier $12,000 - $18,000

Otis Dozier was raised on a farm near Dallas. He was a draftsman for Dallas Power and Light under Charles T. Bowling. He taught landscape and still life painting from his studio in 1932. Dozier taught at the Dallas School of Creative Arts from 1936-1937. He received a scholarship in 1938 to study at the Colorado Springs Fine Art Center. He taught at the arts center from 19391945. Dozier made hundreds of journeys to the Colorado Rocky Mountains and produced more than three thousand sketches of mountains and ghost towns. He taught at Southern Methodist University 1945-1948 and at the Dallas Museum of Fine Arts School from 19451970. Dozier was a guest instructor at Montana State college in Bozeman in 1946 and at Sul Ross State Teachers College in Alpine Texas in 1947. He traveled widely for inspiration with trips to the Big Bend and the Gulf Coast areas of Texas, Louisiana, New Mexico, Arizona, Utah and Colorado. In the 1950’s and 1960’s he traveled to Mexico, Europe, and the Far East. His works were published in Otis Dozier: Interpretations of Six Paintings, 1960 and Pecos to Rio Grande: Interpretations of Far West Texas by Eighteen Artists, 1983.

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138. OTIS DOZIER

138 SKETCH INCLUDED WITH PAINTING

(Am. 1904-1987)

Range Rider (plus original sketch of painting included in lot) oil on canvas 30 x 40 signed lower right: Otis Dozier ‘85 $10,000 - $15,000

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139 139. OTIS DOZIER (Am. 1904-1987)

Blue Grasshopper, 1986 oil on canvas 24 x 36 signed on reverse: Dozier $7,000 - $10,000

140. OTIS DOZIER (Am. 1904-1987)

The Owl oil on canvas 36 x 30 $6,000 - $10,000

141. OTIS DOZIER (Am. 1904-1987)

Cripple Creek, 1945 gouache on paper 11 x 16 1/2 signed lower right: Otis Dozier ‘45, Cripple Creek, Colo $2,000 - $4,000

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141

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142

142. EVERETT SPRUCE (Am. 1908-2002)

143

Hills Near Sanderson, 1952-53 oil on masonite 20 x 30 signed lower right: E. Spruce $25,000 - $35,000

143. WILLIAM LESTER (Am. 1910-1991)

Aftermath, 1970 acrylic on canvas 56 x 48 signed on reverse: Aftermath, 1970, William Lester $12,000 - $28,000 PROVENANCE: Collection of William and Sylvia Lester (artist); Private Collection current, acquired from above in 1980.

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144 144. WILLIAM LESTER (Am. 1910-1991)

At Bat, 1950 oil on panel 30 x 24 (Double sided painting) signed on reverse: WM Lester, 1950, “AT BAT” $9,000 - $12,000

145. WILLIAM LESTER (Am. 1910-1991)

Minor Key oil on board 31 x 22 (Double sided painting) signed upper right: William Lester ‘67 $8,000 - $12,000

Minor Key by William Lester is a double sided painting. He wrote “Minor Key” on the first side he painted, title to the second side he painted, which is also a nod to his favorite Baroque composer Antonio Vivaldi.

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147

146

146. WILLIAM LESTER (Am. 1910-1991)

Untitled oil on canvas 30 x 24 $3,000 - $6,000 This painting is accompanied by a letter from William Lester’s son

147A 147. WILLIAM LESTER (Am. 1910-1991)

Fisherman oil on board 24 x 28 $20,000 - $30,000

147A. WILLIAM LESTER (Am. 1910-1991)

Boy & Kite, 1951 oil on masonite 29 3/4 x 24 signed on reverse: Boy and Kite, WM Lester, 1951 $15,000 - $25,000

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DeForrest Judd was born in Hartsgrove, Ohio in 1916. He received a scholarship for graduate studies from the Cleveland Institute of Art in 1938. From 1939-1942 Judd did post-graduate work at the Colorado Springs Fine Arts Center as a student of Boardman Robinson. He moved to Texas and from 1946 to 1982 he taught art at Southern Methodist University as well as Dallas Museum of Fine Arts. During his lifetime Judd had just over 25 solo exhibitions. Judd is known as a Texas artist and was active and contributed to the Dallas arts community throughout his lifetime.

His work can be found in the following collections: Dallas Museum of Art; The Art Museum of Southeast, Beaumont, TX; Cleveland Museum of Art, OH; Colorado Springs Fine Arts Center, CO; University of Texas at Austin, TX: The Jake and Nancy Hamon Arts Library, SMU, Dallas, TX, the Longview Museum of Fine Arts, Longview, TX; the Grace Museum, Abilene, TX

148. DeFORREST JUDD (Am. 1916-1993)

Thistle, 1957 oil on masonite 24 x 36 signed lower right: DeForrest Judd 57 $10,000 - $15,000

The following labels are affixed to reverse: Ford Foundation Program for Artists; The 19th Annual Texas Painting and Sculpture, 1957; Texas Painting 1958.

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149

150 149. DeFORREST JUDD (Am. 1916-1993)

Apache Country, c. 1958 oil on panel 24 x 36 signed lower left: DeForrest Judd ‘57 $5,000 - $10,000 EXHIBITED: Ford Foundation for Artists; Texas Painting 1958, awarded Cokesbury Bookstore Award; 29th Annual Dallas County Exhibition – Painting – Drawing – Sculpture – 1958; LITERATURE: This painting

is listed on page114 of the book: Texas Artists and Artisans 1718-1959 Vol. II, by: Vic Roper (c) 2017 150. DeFORREST JUDD (Am. 1916-1993)

Cypress Stumps with Water Lilies oil on canvas 36 x 40 signed lower left: DeForrest Judd ‘83 $6,000 - $12,000

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151 151. WARD LOCKWOOD (Am. 1894-1963)

Untitled oil on board 30 x 19 3/4 signed lower right: Lockwood $3,000 - $6,000

152. McKIE TROTTER (Am. 1918-1999)

Sketch for Sea Castle, 1953 oil on canvas 10 x 12 signed lower right: Trotter, 53 $2,000 - $4,000

153. ED BEARDEN (Am. 1919-1980)

The Flapper, 1947 oil on masonite 24 x 18 signed lower right: Ed Bearden ‘47 $2,500 - $5,000

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154 154. EDMUND D. KINZINGER (Am. 1888-1963)

Untitled, Woman & Cubist Harbor, 1935 oil on masonite 14 1/2 x 18 signed lower right: E.D.K. ‘35 $3,000 - $6,000

155. EDMUND D. KINZINGER (Am. 1888-1963)

Looking Over the Bay, 1934 oil on canvas 14 x 25 1/2 signed lower right: EDK 34 $4,000 - $8,000

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Edmund Daniel Kinzinger was born in Pforzheim, Germany in 1888. He studied at Knirr Schule in Munich, Germany from 1908-1910; the State Academies in Munich from 1909-1910 and Stuttgart from 1910-1914 and 1919-1921. He studied with Adolph Holzel; Henrich Waldschmidt; Academie Moderne in Paris, France and after moving to the U.S. earned his Ph.D. from the University of Iowa. Early on in his career French and German impressionist painters influenced him. He was exposed to cubism while studying in Paris, this is where he began to experiment with abstract art. He served in WWI, and after that he studied in Italy in the 1920’s. He met the American, Alice Fish and then came to the U.S. to meet her family before they married. He taught art in Minneapolis. Then he returned to Europe to conduct the Hans Hoffman School of Fine Art in Munich in 1930, after that he spent years in France and Italy producing some of his best work. Immediately following this period he moved back to the U.S. to head the art department at Baylor University in Waco, TX (1935-1950). He bought a home in Taos, NM in the 1940’s. He fell ill in the late 1940’s and moved to Wisconsin to be near his son, and later moved to Tarboro, NC. His works can be found in the following permanent collections: San Antonio Museum of Art; University of Iowa; Dallas Museum of Art; Museum of Fine Arts, Houston; Baylor University; Muscarelle Museum of Art, The College of William & Mary. During his lifetime Kinzinger was widely exhibited including: Great Dallas and Pan-American Exposition; National Exhibition of American Art, Rockefeller Center, NY; Southeast Texas Artists Exhibition; Museum of Fine Arts Houston; Three German Artists at the Dallas Museum of Art; Golden Gate International Exposition, in San Francisco; American Art Today Exhibition, NY Worlds Fair; West Texas Artists Exhibition in Fort Worth; Fort Worth Art Association; International Exhibition of Prints and Drawings at Elisabet Ney Museum, Austin; and Twelve New Mexico Panelists, University of New Mexico Traveling Exhibition.

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157 156. EDMUND D. KINZINGER (Am. 1888-1963)

Fisherman, 1934 gouache on paper 12 x 9 signed lower right: E.D.K. 34 $1,000 - $2,000

157. EDMUND D. KINZINGER (Am. 1888-1963)

Rooftops pastel on paper 16 x 19 1/2 estate stamped lower right: E.D.K. Estate $800 - $1,200

158. REYNOLD ARNOULD (Fr./Am. 1919-1980)

158

Les Footballers del Texas, Dallas, 1949 oil on canvasboard 24 x 18 signed lower right: Reynold Arnould $4,000 - $8,000

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159

159. VALTON TYLER (Am. 1944-2017)

O-Gray oil on canvas 76 x 76 signed lower left: Valton Tyler $5,000 - $10,000

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Valton Tyler was born in Texas City, TX in 1944. Early on in his career, through his connection with Donald Vogel, he created a compilation of fifty lithographic plates from 1971-1972 at SMU press, which was immediately followed by his first one-man exhibition at Valley House Gallery in Dallas. A full edition of this collection of lithographs is now in the permanent collection of the Amon Carter Museum of American Art. He attended the Dallas Art Institute for a short period in 1967. Tyler went on to have an extremely prolific career as well as an active career in exhibitions. His work has been exhibited in the following galleries, shows and museums: Valley House Gallery, Dallas, TX; The Art Armory Show, New York; Outsider Art Fair, New York; Phyllis Kind Gallery; Folk Fest Art Fair in Atlanta, GA; Art Chicago, Navy Pier, Chicago, IL; Contemporary Art Dealers of Dallas Inaugural Art Fair; One-man show at Amon Carter Museum of American Art 2017. The Fort Worth Star-Telegram commented on his oneman show in 2017: “Within the frames are carefully rendered drawings of bizarre structures and creatures that defy description. The canvases explode with colors and shapes that curve and undulate in unimaginable ways. They are modern, abstract, surreal and boldly daring.�

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160 160. VALTON TYLER (Am. 1944-2017)

Lets Place it Here oil on canvas 33 x 44 $3,000 - $6,000

161. JULIUS EDWIN WOELTZ (Am. 1911-1956)

The Picnickers, 1950 oil on board 22 x 30 1/2 signed lower right: Julius Woeltz $8,000 - $16,000

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162

162. ZANNE HOCHBERG (Am. 1931-2001)

Abstract in Paris, 1989 oil on canvas 40 x 50 signed lower right: Zanne Hochberg $8,000 - $12,000

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The late Dallas abstract expressionist painter, Zanne Hochberg had a long career in painting. She recently had a one woman retrospective at the San Angelo Museum of Fine Arts in 2011. Her work can be found in the collections of the DMA and the Blanton Museum of Art. Zanne was born in Rochester, NY. She moved to Dallas in 1953, earned her MFA at SMU and continued her painting career here with numerous exhibitions until her death in 2001.

Zanne Hochberg’s work can be found in the following collections: Austin Contemporary Art Museum; Blanton Museum of Art, University of Texas, 2007; Winthrop University Gallery, Rock Hill, South Carolina, 2004; Mulvane Art Museum; Washburn University, Topeka, KS, 1988; Dallas Museum of Art, Dallas, Texas, 1980; National Museum of Women in the Arts, Washington, D.C.; San Angelo Museum of Fine Arts, San Angelo, Texas; Old Jail Art Center, Albany, Texas

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163 163. ZANNE HOCHBERG (Am. 1931-2001)

Untitled, 1965 oil on canvas 49 x 39 3/4 signed upper right: Zanne Hochberg $12,000 - $18,000

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164 164. ZANNE HOCHBERG (Am. 1931-2001)

Woman with Shawl, 1990 watercolor on paper 25 x 19 signed upper right: Zanne Hochberg, 1990 $6,000 - $8,000

165. ZANNE HOCHBERG (Am. 1931-2001)

Jazz, 1983 acrylic on paper 22 x 30 signed upper left: Zanne Hochberg, 1983 $4,000 - $6,000

166. ZANNE HOCHBERG (Am. 1931-2001)

Cristo oil on masonite 18 x 12 1/4 signed lower right: Zanne $8,000 - $12,000

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167. MICHAEL FRARY (Am. 1918-2005)

169

Black Train in the Moonlight oil on board 21 1/4 x 25 1/2 signed lower right: Frary $2,000 - $4,000

168. MICHAEL FRARY (Am. 1918-2005)

Mid Century Industrial oil on board 18 x 48 $3,000 - $6,000

169. MICHAEL FRARY (Am. 1918-2005)

Still Life Black Compote, 1958 oil on panel 17 x 24 signed lower right: Frary $4,000 - $8,000

170. ANCEL E. NUNN (Am. 1928-1999)

The Distant Whistle, 1973 acrylic on board 12 x 40 signed lower right: Ancel E Nunn, 73 $15,000 - $25,000

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171 171. EDWIN NELSON BEVERLY (Am. 1904-1984)

Summer Day, 1939 oil on masonite 24 x 30 singed lower left: E.N. Beverly $2,000 - $4,000 EXHIBITED:

Dallas Museum of Fine Arts, State Fair Exhibition, 1939

172. MILDRED NORRIS COMPTON (Am. 1912-1976)

Fanciful Waterfall Scene with People and Animals, c. 1945 gouache and oil pastel 21 x 16 $1,500 - $3,000 EXHIBITED: The Comptons of Texas: Rediscovered Works by Carl Benton and Mildred Norris Compton at UNT, presented by William Reaves Fine Art, March 4 – 26, 2016. An image of this painting is included in the accompanying exhibition catalogue on page 68.

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173. MILDRED NORRIS COMPTON

174

(Am. 1912-1976)

Mexican Countryside with Rockwall and Cottage, c. 1945 gouache on paper 17 x 21 1/2 signed lower right: Mildred Norris Compton $1,500 - $3,000 EXHIBITED: The Comptons of Texas: Rediscovered Works by Carl Benton and Mildred Norris Compton at UNT, presented by William Reaves Fine Art, March 4 – 26, 2016. An image of this painting is included in the accompanying exhibition catalogue on page 69.

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174. SEYMOUR FOGEL (Am. 1911-1984)

Texas Landscape conte crayon 17 1/2 x 23 1/2 $1,000 - $2,000

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175 175. DWIGHT CLAY HOLMES (Am. 1900-1986)

Aspens in Ruidoso, NM, 1976 oil on canvasboard 26 x 38 signed lower left: Dwight Holmes $3,000 - $6,000

176. JERRY RUTHVEN (Am. b.1947)

Wildflowers Near Lake Travis, 1981 oil on board 11 x 14 signed lower right: Ruthven © 1981 $1,200 - $1,500

177. ADOLF ARTHUR DEHN (Am. 1895-1968)

Green Meadows in the Mountains, 1946 watercolor on paper 19 x 27 signed lower right: Adolf Dehn ‘46 $8,000 - $12,000

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177

178 178. LEOPOLDO GONZALES, JR. (Am. 20th Cent.)

City by the Sea oil on masonite 19 x 32 signed lower right: Leopoldo $2,000 - $4,000

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179 179. ROBERT POLLOCK (Am. b.1928)

Untitled, #1 Italian marble 12 x 12 x 14 $2,000 - $4,000

180. ROBERT POLLOCK (Am. b.1928)

Untitled, #2 Italian marble 16 x 12 x 22 $4,000 - $8,000

Robert Pollock is a Dallas artist, he was a student at the Creative Arts Center (CAC) of Dallas and studied under Octavio Medellin who founded CAC in 1966. Pollock had a retrospective of his work in 2018 at the Creative Arts Center of Dallas, where he also donated much of his collection. Pollock is a self taught sculptor who has been creating art since he was nine years old. His artistic journey began in Dallas, TX where he was a young boy working in copper and pewter. In the summer of 1943 while visiting in La Jolla, CA he took a class in linoleum block printing at the La Jolla Museum of Art. After graduation from high school in 1945, he attended SMU for one semester taking a class in clay sculpting from Stella Lamond. He entered Harvard College in the spring, graduating in 1949. Upon returning to Dallas after two years in the Navy in 1953, he took up sculpture again at the Creative Arts Center of Dallas where he has studied ever since under several artists, including Jewel Cline, David Hickman and Art Wells until his retirement from sculpting last year. It was at CAC that he handcrafted his first piece of Italian marble. In addition to sculpting at CAC he spent a month each summer in Pietrasanta, Italy, for the next 20 years. Most of Pollock’s stone sculpture is done in white Carrara marble and comes from the same quarries near Pietrasanta where Michelangelo obtained his marble.

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181 181. BILL REILY (Am. 1930-2014)

Pond acrylic polymer 24 x 30 $2,000 - $4,000

182. ROBERT LOCKARD (Am. 1905-1974)

#13 Abstraction, 1940 watercolor on paper 8 1/2 x 11 1/2 signed lower left: R.L., lower right: 40 $600 - $800

183. JEANNE MASON KOCH (Am. 1934-2015)

Atzompa (diptych) oil and ground glass beads on canvas 53 x 53 and 53 x 53 signed on reverse: Jeanne Koch $1,500 - $3,000

Jeanne Mason Koch was born January 21, 1934 in Brockton Massachusetts.

Her husband of 59 years was Robin Koch. She was a graduate of Rhode Island School of Design and had a successful career as a nationally renowned artist and painter. Her unique vision and artistic talent have been manifested in paintings that adorn museums, galleries, businesses and homes across the country.

During her lifetime Koch exhibited her work at the Adams-Middleton Gallery on Maple Avenue and Christie Gallery in Dallas, TX. Koch and her husband were involved with the Southern Methodist University arts program in Taos, New Mexico.

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184

185

184. JUDITH SEAY (Am. 20th Cent.)

Follow that Dream metal leaf and oil on board 48 x 36 signed on reverse: Judith Seay $4,000 - $8,000

185. NIC NICOSIA (Am. b.1951)

Morning Picture, Still black and white photograph 19 x 29 $600 - $1,200

186 186. DIANNE SMITH (Am. 20th Cent.)

Traces of Storybooks archival ink jet print 12 x 18 $150 - $300

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187 187. BILL WIMAN (Am. b.1940)

Evening Afterglow oil on canvas 52 x 58 signed lower left: Wiman $3,000 - $6,000

188. BILL WIMAN (Am. b.1940)

From the Door of the Sanctuary, 1986 oil on canvas 2 x 68 signed lower left: Wiman $3,000 - $6,000

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189 189. BUD BIGGS (Am. 1906-1986)

Dallas Film Row, 1918 watercolor on paper 14 x 21 signed lower right: Bud Biggs $2,000 - $4,000

190. XAVIER GONZALEZ (Am. 1898-1993)

The Round Table oil on canvas 25 x 30 signed lower right: X.G. $1,000 - $2,000

191. XAVIER GONZALEZ (Am. 1898-1993)

Boat Dock watercolor on paper 15 x 20 signed lower right: Xavier Gonzalez $800 - $1,000

192. XAVIER GONZALEZ (Am. 1898-1993)

Boat Dock, 1933 watercolor on paper 13 x 17 1/2 signed lower left: X Gonzalez ‘33 $800 - $1,000

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191

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192

193 193. SAMUEL P. ZIEGLER (Am. 1882-1967)

Texas Red Buds, 1932 oil on canvas 12 1/4 x 15 3/4 signed lower left: SP Ziegler 1932 $1,000 - $2,000

194. SAMUEL P. ZIEGLER (Am. 1882-1967)

Boat Races, Lake Worth oil on canvas 14 x 18 signed lower right: SP Ziegler 1932 $1,500 - $3,000

195. SAMUEL P. ZIEGLER (Am. 1882-1967)

Throckmorton Street, Looking North from 9th oil on canvas 13 x 14 signed lower right: SP Ziegler $1,500 - $3,000

194

196. SAMUEL P. ZIEGLER (Am. 1882-1967)

Landscape, 1935 oil on canvas 11 x 14 signed lower right: SP Ziegler 1938 $1,000 - $2,000

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195

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197 197. SAMUEL P. ZIEGLER (Am. 1882-1967)

Soldiers Memorial Arch at TCU Library, 1939-1949 oil on canvas 16 x 20 signed lower left: SP Ziegler $2,000 - $4,000

198. SAMUEL P. ZIEGLER (Am. 1882-1967)

Administration Building, TCU oil on canvas 16 x 20 signed lower right: SP Ziegler, 1939-49 $2,000 - $4,000

199. SAMUEL P. ZIEGLER (Am. 1882-1967)

Portrait, Richard Ziegler, 1938 oil on canvas 36 x 24 signed lower right: SP Ziegler 1938 $6,000 - $8,000

199

200. SAMUEL P. ZIEGLER (Am. 1882-1967)

Trecking the Old T.P. Station etching 6 x 8 signed across bottom: Trecking the Old T.P. Station, S.P. Ziegler $200 - $300

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200

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201 201. BROR UTTER (Am. 1913-1993)

Still Life watercolor on paper 9 x 12 3/8 signed lower right: Bror Utter $1,500 - $3,000

202. ED CURRY (Am. 1918-2009)

Haystacks at Taos oil pastel on board 35 1/2 x 48 signed lower right: Curry $3,000 - $6,000

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203

203. DAVID BROWNLOW (Am. 1915-2008)

Bouquet oil on board 23 1/2 x 15 1/2 signed lower left: David Brownlow $600 - $1,200

204. DAVID BROWNLOW (Am. 1915-2008)

Arch of Constantine oil on board 24 x 32 signed lower left: David Brownlow $1,200 - $2,400

204

205. DAVID BROWNLOW (Am. 1915-2008)

Automobile oil on canvas 22 1/2 x 34 1/2 signed lower left: David Brownlow $1,500 - $3,000

206. DAVID BROWNLOW (Am. 1915-2008)

Forest, 1954 watercolor on paper 14 1/2 x 19 1/2 signed on reverse: David Brownlow $400 - $800 EXHIBITED: Beaumont Art Museum, 1954

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206

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207 207. KELLY FEARING (Am. 1918-2011)

Fish Collage #10, 1978 mixed media on paper 17 3/4 x 11 3/4 signed lower right: Kelly Fearing $1,500 - $3,000

208. PAUL MAXWELL (Am. 1925-2015)

Blue Doves oil on canvas 32 x 30 signed lower left: P Maxwell $1,000 - $2,000

208

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209 209. FLORA BLANC REEDER (Am. 1916-1995)

Cat Portrait oil on canvas 18 x 21 signed lower right: Flora Blanc $1,500 - $3,000

210. JOSEPHINE MAHAFFEY (Am. 1903-1982)

Guitar and Banjo oil on board 40 x 20 signed lower right: JM $1,500 - $3,000

211. JOSEPHINE MAHAFFEY (Am. 1903-1982)

Trombone oil on board 47 x 20 signed lower right: JM $1,500 - $3,000

210

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211

212

213 212. JOSEPHINE MAHAFFEY (Am. 1903-1982)

Still Life with Basket of Fruit oil on board 30 x 24 signed lower right: JM $1,000 - $2,000

213. JOSEPHINE MAHAFFEY (Am. 1903-1982)

Still Life with Fruit and Basket oil on board 24 x 30 signed lower right: JM $1,500 - $3,000

214. JOSEPHINE MAHAFFEY (Am. 1903-1982)

Will Rogers Coliseum watercolor on paper 21 x 29 signed lower left: JM $1,000 - $2,000

215. JOSEPHINE MAHAFFEY

214

(Am. 1903-1982)

Duck Pond oil on canvasboard 24 x 30 signed lower right: JM $1,000 - $2,000

216. JOSEPHINE MAHAFFEY (Am. 1903-1982)

Fishing on the Pier (The artist with two of her children) oil on canvasboard 20 x 24 signed lower right: JM $1,500 - $2,500

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216

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217 217. ETHEL MAY BRODNAX (Am. 1904-1963)

Boats In Harbor mixed media on board 24 x 32 signed lower left: Ethel May Brodnax $2,500 - $5,000

Ethel May Brodnax was born and reared in Dallas.

She attended Southern Methodist University and studied under Olin Travis and Otis Dozier. She died in Dallas.

Brodnax exhibited across the state including the following shows and exhibitions: Annual Allied Arts Exhibition, Dallas 1942-43, 1944-46 awards, 1947 honorable mention; Texas General Exhibition 1945-46; Annual Texas Artists Circuit Exhibition 1946; Texas Painting and Sculpture Annual Exhibition 1950,1955, 1956 purchase prize, 1958, 1959 award, 1960; D.D. Feldman Collection, Dallas 1955; Annual International Exhibition of Women Artists, Paris1962; Beaumont Art Association; New Orleans Fine Arts Club; Dallas Society for Contemporary Arts one-woman.

Her works can be found in the Dallas Museum of Art and the New Orleans Museum of Art collections.

She was affiliated with the Dallas Art Association; Museum League of Dallas and the Texas Fine Arts Association.

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218. ETHEL MAY BRODNAX (Am. 1904-1963)

Untitled ceramic mosaic 31 x 92 signed lower right: Brodnax $3,000 - $6,000

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219 219. VELOX WARD (Am. 1901-1994)

Texas Cabin oil on canvasboard 10 x 14 signed lower left: Velox Ward $3,000 - $5,000

220. SWEETIE LADD (Am. 1902-1991)

Christmas in the Offing, 1980 watercolor on paper 23 x 30 signed lower right: Sweetie Ladd 80 $1,500 - $3,000

221. RUTH MAE McCRANE (Am. 1929-2002)

Jamming When the Crowd Left, 1996 acrylic on board 24 x 48 signed lower right: Ruth Mae McCrane 05-04-96 $600 - $1,200

222. PETER VASTURES

220

(Am. 1930-2019)

Galveston Beach Houses oil on canvas 36 x 36 signed lower right: Peter Vastures $2,000 - $4,000

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222

Peter Spiro Vastures was born and raised in Dallas. His parents immigrated to the United States from Greece. He graduated from Forest Avenue High School and went on to receive a BS in Art at Southern Methodist University, graduating in 1952. After a short volunteer tour of active duty in the U.S. Army, he moved to New York City to begin his life-long pursuit of artistic expression. Peter sold several cartoons to the Saturday Evening Post Magazine when he first arrived in New York, but he longed for his Texas roots and soon returned to Dallas to work as the fashion-art advertising designer for Neiman Marcus. After working at Neiman Marcus for a few years, Peter’s greatest career achievement was when he was named Creative Director for the Drawing Board, a powerhouse innovator and publisher of business forms, greeting cards and other stationary products. He then became Creative Vice-President of the company and remained there for over 40 years including the 1980 merger with Pitney Bowes. In retirement Peter built an art studio in East Texas where he resumed his love of painting. Peter was closely involved in Dallas’s Holy Trinity Greek Orthodox church through his contributions of music, art and financially, by funding the building of the administrative wing of the church.

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223 223. FRED DARGE (Am. 1900-1978)

On Guard oil on canvasboard 18 x 22 signed lower right: F. Darge $8,000 - $12,000

224. FRED DARGE (Am. 1900-1978)

Sierra Blanca Mountain Range oil on canvasboard 12 x 16 signed lower right: F. Darge $2,000 - $4,000

225. FRED DARGE (Am. 1900-1978)

Waiting oil on canvasboard 18 x 24 signed lower right: F. Darge $4,000 - $6,000

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225

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226 226. FRED DARGE (Am. 1900-1978)

Afternoon Clouds & Shadows, Ed Love Ranch, Sierra Blanca, Texas oil on canvasboard 12 x 16 signed lower right: F. Darge $2,000 - $3,000

227. FRED DARGE (Am. 1900-1978)

Afternoon Cloud Shadows (2) oil on canvasboard 12 x 16 signed lower right: F. Darge $2,000 - $5,000

228. FRED DARGE (Am. 1900-1978)

Landscape oil on canvasboard 12 x 16 signed lower right: F. Darge $1,500 - $2,000

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228

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229 229. LAJOS MARKOS (Am. 1917-1993)

Frontier Energy oil on canvas 60 x 48 signed lower right: Lajos Markos $10,000 - $12,000

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230 230. EUGENE B. THURSTON (Am. 1896-1993)

Organ Mountains oil on canvas 18 x 24 signed lower right: Eugene Thurston $4,000 - $6,000

231. ELMER L. BOONE (Am. 1883-1952)

El Capitan oil on canvas 18 x 24 signed lower right: EL Boone $6,000 - $8,000

231

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232 232. JOHN WADE HAMPTON (Am. 1918-2000)

Cowboy Leaving Camp oil on canvas 24 x 36 signed lower left: JW Hampton © 1961 $4,000 - $6,000

233. RALPH McLELLAN (Am. 1884-1977)

New Mexico Yesterdays oil on canvas 49 1/2 x 40 signed lower right: McLellan, 1922 $2,500 - $5,000 EXHIBITED: San Antonio Art League, Second Local Artists Exhibition, August 15, 1931

234. JACK BRYANT (Am. 1929-2012)

The Night Cook oil on canvas 16 x 20 signed lower left: Jack Bryant $1,000 - $2,000

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234

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235 235. TOM PALMORE (Am. 1945-)

Showboy of Texas oil on canvas 66 x 84 $5,000 - $10,000

236. MONDEL ROGERS (Am. 20th Cent.)

Untitled, West Texas Windmill tempera on board 21 x 30 signed lower left: Mondel Rogers $3,000 - $6,000

236

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237 237. JON FLAMING (Am. b.1962)

Peggy Sue BBQ, Dallas oil on canvas 36 x 48 signed upper left: Jon Flaming $6,000 - $12,000

238. JON FLAMING (Am. b.1962)

High Noon oil on canvas 30 x 40 signed lower left: Jon Flaming $4,000 - $8,000

239. JON FLAMING (Am. b.1962)

Factory wood sculpture 27 x 14 x 7 3/4 $800 - $1,200

240. JON FLAMING (Am. b.1962)

East Texas Mobil Station, c. 2004 watercolor on paper 8 x 10 titled lower left: East Texas Mobil Station signed lower right: Jon Flaming $500 - $1,000

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239

240

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241 241. WILLIAM A. SLAUGHTER (Am. 1923-2003)

Texas Bluebonnets, 1974 oil on canvas 24 x 30 signed lower right: W.A. Slaughter ‘74 $8,000 - $12,000

242. DON WARREN (Am. 1935-2006)

Bluebonnets in the Rain oil on canvas 24 x 30 signed lower left: Don Warren $2,000 - $4,000

243. JERRY RUTHVEN (Am. b.1947)

Texas Spring oil on canvas 16 x 20 signed lower right: Ruthven $500 - $1,000

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243

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244

245

246 244. DOLLIE S. NABINGER (Am. 1905-1988)

Texas Bluebonnets oil on canvas 24 x 36 signed lower left: Nabinger $1,500 - $3,000

245. ROLAND DELBERT ENRIGHT (Am. 1888-1963)

Bluebonnets and Cabin oil on canvas 9 x 12 signed lower right: R.D. Enright $800 - $1,200

246. CARROLL COLLIER (Am. 1923 -2017)

A White House oil on canvas 24 x 36 signed lower right: Carroll Collier $4,000 - $6,000

247. CARROLL COLLIER (Am. 1923-2017)

Landscape, c. 1970 oil on canvas 24 x 30 signed lower right: C Collier $1,500 - $3,000

247

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248 248. PAUL RODDA COOK (Am. 1897-1972)

Landscape with Cactus oil on canvas 20 x 30 signed lower left: Paul Rodda Cook $5,000 - $10,000

249. ROBERT HARRISON (Am. b.1949)

Bluebonnet Landscape oil on canvas 24 x 36 signed lower left: Robert Harrison $3,500 - $5,500

250. ROBERT HARRISON (Am. b.1949)

Heart of the Hills oil on canvas 20 x 24 signed lower left: Robert Harrison $3,500 - $5,500

251. ROBERT HARRISON (Am. b.1949)

Bluebonnet Landscape oil on canvas 16 x 20 signed lower left: Robert Harrison $2,500 - $3,500

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250

251

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252 252. FRANK STICK (Am. 1884-1966)

Duck Hunting at Dawn oil on canvas 36 x 26 $6,000 - $12,000

253. DOROTHY POULOS (Am. 20th Cent.)

Swimming Fish II, 1965 oil on masonite 10 1/2 x 18 signed lower right: D. Poulos $1,000 - $2,000

254. JOSE VIVES-ATSARA (Am. 1919-2004)

After the Rain, 1965 oil on board 16 x 20 signed lower right: Vives-Atsara $3,000 - $5,000

253

254

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255 255. EMILY GUTHRIE SMITH (Am. 1909-1986)

Texas Landscape pastel on paper 28 x 22 signed lower right: Emily Guthrie Smith $1,500 - $3,000

256. W. FREDERICK JARVIS (Am. 1869-1944)

West Texas oil on canvas 23 1/2 x 31 1/2 signed lower left: W. Frederick Jarvis $1,000 - $2,000

257. MARY JANE BULLOCK (Am. 1898-2005)

The Hikers oil on canvas 18 x 22 signed lower right: Mary Jane M. Bullock $500 - $1,000

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257

FINE PAINTINGS AND SCULPTURE

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258

259

258. MARGARET MELLOT T (Am. 1923-2018)

Bouquet mixed media collage on masonite 40 x 24 signed lower left: M Mellott $2,000 - $4,000

259. MARGARET MELLOT T (Am. 1923-2018)

Woman at the Window acrylic collage 30 x 24 $2,000 - $4,000

260. MARGARET MELLOT T (Am. 1923-2018)

Vessel #4 gouache on paper 39 x 27 $2,000 - $4,000

261. MARGARET MELLOT T (Am. 1923-2018)

Vessel #8 gouache and charcoal on paper 39 x 27 $2,000 - $4,000

260

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261

262

263

264

262. HELEN K. KENDALL (Am. 1895-1946)

Lake Nasworthy in San Angelo, 1930 pastel on paper 16 x 19 $600 - $1,200

265

263. FRANK KLEPPER (Am. 1898-1952)

Afternoon Sunlight oil on canvas 16 x 20 signed lower left: Klepper $1,500 - $3,000

264. LUCRETIA COKE (Am. 1917-2016)

West Texas Pond, 1960 pastel on paper 8 x 12 signed lower left: LD Newman $600 - $1,200

265. ANNE WEARY

266

267

(Am. b.1952)

Bandera Longhorns pastel on paper 7 1/2 x 14 1/2 signed lower left: AC Weary $800 - $1,200

266. DOUGLAS CLARK (Am. 20th Cent.)

Bluebonnet Landscape oil on canvas 8 x 10 signed lower left: Douglas B. Clark $300 - $700

267. DOUGLAS CLARK (Am. 20th Cent.)

North Texas Wildflowers oil on canvas 8 x 10 signed lower left: Douglas B. Clark $300 - $700 FINE PAINTINGS AND SCULPTURE

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268. DOUGLAS CLARK (Am. 20th Cent.)

True Texan, Ed. 38/100 bronze 7 x 6 3/4 x 6 signed lower left: Douglas B. Clark $500 - $1,000

270

268

269. DOUGLAS CLARK (Am. 20th Cent.)

Two Texans, Ed. 3/50 (Armadillo and Horn Frog) bronze 2 3/4 x 5 x 4 signed on sculptural base: Douglas B Clark $400 - $800

270. MARGARET DRAKE (Am. 20th Cent.)

First Saddle, 2014 bronze 17 x 15 x 10 $3,800 - $4,500

269 271. MARGARET DRAKE (Am. 20th Cent.)

Mr. Remington’s Cowboy bronze 17 x 15 x 6 $3,200 - $3,800

271

272. HARDY MARTIN (Am. 20th Cent.)

Hill Country Late Afternoon oil on board 24 x 36 signed lower right: Hardy Martin $1,500 - $3,000

273. HARDY MARTIN (Am. 20th Cent.)

Bringing Longhorns Through Fort Worth oil on board 36 x 48 signed lower right: Hardy Martin $2,000 - $4,000

272

274. HARDY MARTIN (Am. 20th Cent.)

Bluebonnets oil on canvas 26 x 22 signed lower right: Hardy Martin $1,000 - $2,000

273

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274

275 275. MICHAEL FRARY (Am. 1918-2005)

Untitled, Stormy Shoreline mixed media 29 1/2 x 22 signed lower right: Frary $1,500 - $3,000

276. LLOYD LOZES GOFF (Am. 1908-1982)

The Hoist, 1939 mixed media on paper 22 x 18 signed lower left: Lloyd Goff 1939 $500 - $1,000

276

277. REZALIA THRASH (Am. 1893-1982)

Female Nude oil on canvasboard 23 1/2 x 18 $500 - $1,000

278. FLORENCE COLEMAN (Am. 1889-1980)

River Scene oil on canvas 9 x 12 signed lower right: Florence Coleman $400 - $800

277

278

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279 279. FRANK GERVASI (Am. 1895-1986)

Shafter, Southwest TX, 1963 oil on canvas 26 x 46 signed lower right: Gervasi $3,000 - $5,000

280. FRANK GERVASI (Am. 1895-1986)

Autumn, Near Fort Davis, TX watercolor on paper 5 x 8 signed lower right: F. Gervasi A.W.S. $400 - $800 Frank Gervasi was born in Italy in 1895 and emigrated to the U.S. in 1908. He initially settled in New York and studied with Frank DuMond, George Bridgeman and Robert Henri at the Art Students’ League and the New York School of Industrial Art. He lost his right arm during his service in W.W.I., but he successfully transitioned to painting with his left hand. He was eventually elected to full membership in the National Academy of Design. Gervasi was in his 60s when he moved to Southwest Texas, where his favorite subjects were the Davis mountains and The Big Bend country.

It has been said that Gervasi’s paintings “may well be the definitive record of this area.”

This diminutive watercolor gem attests to his love for autumn in Texas.

280

281. PETER LANZ HOHNSTEDT (Am. 1871-1957)

Texas Hill Country oil on canvas 18 x 24 signed lower right: PL Hohnstedt $2,000 - $4,000

282. PAULINE HOWARD (Am. b.1951)

281

Guadalupe River pastel on paper 13 1/2 x 19 1/2 signed lower left: P.M. Howard $800 - $1,200

282

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283

284

283. CHAPMAN KELLEY (Am. b.1932)

Landscape oil on canvas 40 x 48 signed across bottom: Chapman Kelley $2,500 - $5,000

285

286

Chapman Kelley was the son of a Frito executive in San Antonio. He was an art prodigy and was selling his art by age 12. He was awarded the William E. Bresson European Traveling scholarship in 1954 and 1955 after winning painting prizes at the Pennsylvania Academy of Fine Arts. Kelly taught at the Dallas Museum of Fine Arts School in the 1950’s and 1960’s. He was a visiting professor at Northwood Institute, Midland, Michigan in the 1960’s. Kelley’s gallery Atelier Chapman Kelley, became a major Dallas venue for contemporary art after it opened in 1959. Kelley juried numerous regional art exhibitions and lectured on art.

284. ANN CUSHING GANTZ (Am. 1935-2012)

Water Lilies oil on paper 11 1/2 x 19 signed lower left: Cushing $800 - $1,200

287

285. STUART ROPER (Am. 20th Cent.)

Clouds Over San Jose oil on linen panel 12 x 16 signed lower right: Roper $400 - $800

286. STUART ROPER (Am. 20th Cent.)

Hill Country Spring oil on linen panel 12 x 16 signed lower right: Roper $400 - $800

287. STUART ROPER (Am. 20th Cent.)

Late Day Mission San Jose oil on linen panel 9 x 12 signed lower right: Roper $400 - $800

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288 288. MICHAEL CANGEMI (Am. 20th Cent.)

Dallas Sky Line from Oak Cliff oil on board 9 x 12 signed lower left: M Cangemi $500 - $1,000

289

289. NAOMI BROTHERTON (Am. b.1920)

Old Texas Barn in the Fall watercolor on paper 14 1/2 x 21 signed lower left: Naomi Brotherton $500 - $1,000

290. CARL BENTON COMPTON (Am. 1905-1981)

Fall River Scene, 1950 oil on board 12 x 16 signed lower right: Carl Benton Compton 50 $1,000 - $2,000

290

291. LUCILLE JEFFRIES (Am. 1903-1950)

Century Plant gouache and watercolor on paper 22 x 18 $2,000 - $4,000

292. L. HOFFMAN (Am. 20th Cent.)

Brunswick, 1973 watercolor on paper 14 x 21 signed lower left: L Hoffman $800 - $1,200

291

292

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293 293. F.M. MOORE (Am. 1877-1967)

Woodland Pool in Spring, 1950 oil on board 24 x 34 signed lower right: F.M. Moore $1,500 - $3,000

294. MINNIE HALTOM (Am. 1887/89-1976)

Alamo oil on board 10 x 8 signed lower left: Hollis Haltom $1,000 - $2,000

295. MILES JEFFERSON EARLY (Am. 1886-1957)

294

Italian Coast Line oil on canvas 24 x 30 signed lower left: Miles J Early $1,000 - $2,000

295

296. BETTY (ELIZABETH) WINN (Am. 1916-2000)

Patio Flowers oil on canvas 30 x 40 signed lower right: Betty Winn $500 - $1,000

297. JAMES FROMME (Am. 20th Cent.)

Still Life oil on canvas 24 x 20 $800 - $1,200

296

297

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INDEX OF ARTISTS ARNOULD, REYNOLD

158

FOGEL, SEYMOUR

134, 135, 174

ONDERDONK, JULIAN

71

ARPA, JOSE

65, 70

FRARY, MICHAEL

167, 168, 169, 275

72, 73, 74

BAKER, ORA PHELPS

41

FROMME, JAMES

297

ONDERDONK, ROBERT JENKINS

BARNETT, JACK

48, 49, 51, 52

GANTZ, ANN CUSHING

284

BASSETT, REVEAU

1, 2, 29, 81, 82

GERVASI, FRANK

279, 280

BATES, DAVID

127

GOFF, LLOYD LOZES

7, 8, 9, 276

BEARDEN, ED

30, 153

GONZALES, JR., LEOPOLDO

178

BENTON, THOMAS HART

21

GONZALEZ, XAVIER

190, 191, 192

ONDERDONK, ELEANOR

75

OWEN, JR., MICHAEL G.

128, 129

PALMORE, TOM

235

PEREZ, NOE

50

POLLOCK , ROBERT

179, 180

POULOS, DOROTHY

253

BEVERLY, EDWIN NELSON

171

GRANVILLE-SMITH, WALTER 96

BEWLEY, MURRAY

66

GUMMELT, SAM

42

PREUSSER, ROBERT ORMEROD

130, 131

BIGGS, BUD

189

HALTOM, MINNIE

294

REAUGH, FRANK

67, 68, 69, 69A

BISTTRAM, EMIL

83, 84

HAMPTON, JOHN WADE

232

REEDER, FLORA BLANC

209

BLACKSHEAR, KATHLEEN

5

HARRISON, ROBERT

46, 249, 250, 251

REILY, BILL

181

BONNER, MARY

18

HOCHBERG, ZANNE

162, 163, 164, 165, 166

ROGERS, MONDEL

236

BOONE, ELMER L.

231

HOFFMAN, L.

292

ROPER, STUART

285, 286, 287

BOWLING, CHARLES T.

20, 80

HOGUE, ALEXANDRE

31, 136

ROWNTREE, RALPH

121, 122

BRODNAX, ETHEL MAY

217, 218

HOHNSTEDT, PETER

116, 281

RUTHVEN, JERRY

176, 243

BROTHERTON, NAOMI

289

HOLMES, DWIGHT CLAY

175

SALINAS, PORFIRIO

BROWNLOW, DAVID

203, 204, 205, 206

HOWARD, PAULINE

282

BRYANT, JACK

234

HUBBARD, BESS

6

97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109

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257

HURD, PETER

19

SALOMON, SOLOMON

64

BYWATERS, JERRY

32, 79

JARVIS, W. FREDERCIK

256

CANGEMI, MICHAEL

288

JEFFRIES, LUCILLE

291

CATALOGUE: DALLAS MUSEUM OF FINE ARTS

3

JUDD, DEFORREST

148, 149, 150

KELLEY, CHAPMAN

283

CHERRY, EMMA RICHARDSON

87

KENDALL, HELEN K.

262

CISNEROS, JOSE

43

KINZINGER, EDMUND

154, 155, 156, 157

CLARK, DOUGLAS

266, 267, 268, 269

KLEPPER, FRANK

263

COKE, LUCRETIA

63, 264

KOCH, JEANNE MASON

183

COLEMAN, FLORENCE

278

LADD, SWEETIE

220

COLLIER, CARROLL

246, 247

LEA, TOM

4, 40

COMPTON, CARL BENTON

53, 54, 55, 56, , 290

LESTER, WILLIAM

143, 144, 145, 146, 147, 147A

COMPTON, MILDRED NORRIS

57, 58, 172, 173

LIGHTFOOT, MARY

16

STUTH-WADE, BOB

60, 61 62

SANDERS, DAVID

44, 45

SCHOW, MAY

126

SCHUMANN, PAUL

94, 95

SEAY, JUDITH

184

SLAUGHTER, WILLIAM A.

241

SMITH, DIANNE

186

SMITH, EMILY GUTHRIE

255

SPEARS, ETHEL

124, 125

SPRUCE, EVERETT

142

STEDMAN, WILFRED

59

STICK, FRANK

252

STRAHALM, FRANZ

113, 114

248

LINDIN, CARL

93

TARRAGO, LETICIA

CREWS, SETH FLOYD

88

LOCKARD, ROBERT

182

TAYLOR, ROLLA SIMS

117, 118, 119, 120

CULWELL, BEN L.

132, 133

LOCKWOOD, WARD

151

THRASH, REZALIA

277

202

MAHAFFEY, JOSEPHINE

210, 211, 212, 213, 214, 215, 216

THURSTON, EUGENE B.

230

TRAVIS, OLIN HERMAN

89, 90, 91, 92

17

TROTTER, MCKIE

152

COOK, PAUL RODDA

CURRY, ED DARGE, FRED

223, 224, 225, 226, 227, 228

MAPLES, BARBARA

DAWSON-WATSON, DAWSON 85, 86

MARKOS, LAJOS

229

TYLER, VALTON

159, 160

DEHN, ADOLF ARTHUR

177

MARTIN, HARDY

272, 273, 274

UTTER, BROR

201

DOYLE, MARY FRANCIS

28

MAUZEY, MERRITT

22, 23, 24, 25, 26, 27

VASTURES, PETER

222

DOZIER, OTIS

33, 34, 35, 36, 37, 38, 137, 138, 139, 140, 141, 270

MAXWELL, PAUL

208

VIVES-ATSARA, JOSE

254

MCCRANE, RUTH MAE

221

WARD, VELOX

219

MCLELLAN, RALPH

233

WARREN, DON

242

MCVEIGH, BLANCHE

10, 11, 12

WEARY, ANNE

265

MELLOTT, MARGARET

258, 259, 260, 261

WIMAN, BILL

187, 188

MEWHINNEY, ELLA K.

115

WINN, BETTY (ELIZABETH)

296

MOORE, F.M.

293

WOELTZ, JULIUS EDWIN

161

NABINGER, DOLLIE S.

244

WOOD, ROBERT

110, 111, 112

NICOSIA, NIC

185

ZIEGLER, SAMUEL P.

NUNN, ANCEL E.

170

193, 194, 195, 196, 197, 198, 199, 200

DRAKE, MARGARET

270, 271

EARLY, MILES JEFFERSON

295

EISENLOHR, EDWARD

13, 14, 15, 76, 77, 78

ELDER, INEZ STAUB

123

ENRIGHT, ROLAND DELBERT 245 FEARING, KELLY

39, 207 47

FLAMING, JON

237, 238, 239, 240

96

FITZGERALD, BARNABY

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