Early Texas: A Fall Selection

EARLY TEXAS: A Fall Selection

A Virtual Exhibition of Fine Texas Paintings November 11 – December 17, 2011 Presented By William Reaves Fine Art & Beuhler Fine Art Houston

San Antonio

EARLY TEXAS: A Fall Selection

A Virtual Exhibition of Fine Texas Paintings November 11 – December 17, 2011 Presented By William Reaves Fine Art & Beuhler Fine Art

Houston San Antonio

Collectors of early Texas paintings appreciate the fact that fresh works by pioneer Texas artists are shown less frequently and generally harder to come by these days. For this reason, William Reaves Fine Art and Beuhler Fine Art are pleased to combine forces to offer an interesting new selection of early Texas works.

FALL SELECTION is the first of a planned series of virtual exhibitions featuring the state’s premier painters working during the first half of the twentieth century.

The exhibition presents a significant gathering of 30 paintings by over 20 Texas artists. We think that the works presented in this show, whether large or small in scale, consistently hold their own as sound examples of the artists’ oeuvre. Those familiar with early Texas art will appreciate the overall quality of the works shown, as well as the range of artists represented. Those new to the field will enjoy this virtual exhibition as an opportunity to become better acquainted with the work of many of the most prominent of our early Lone Star artists.

The virtual nature of this exhibition offers a comfortable viewing alternative for experienced collectors to make selections that can expand and enhance existing collections. The show also presents a wonderful opportunity for new collectors to acquire significant works to inaugurate their own new assemblages of Texas art. The catalogue format enables patrons to study and consider the works at their own convenience, and it is our hope that Texas art enthusiasts will come to enjoy receiving and perusing these occasional catalogues as a welcomed new addition to their overall collecting experience.

All works in the catalogue may be viewed on-site at William Reaves Fine Art during the term of the exhibition, or interested clients may contact the gallery for additional images or details regarding the paintings shown.

Prices are available upon request to the gallery.

We hope that you will enjoy this exhibition. We look forward to hearing from you.

William Reaves and Paul Beuhler

Please contact Ms. Sarah Beth Wilson or Ms. Leslie Thompson for assistance or additional information:

Sarah Beth Wilson, Gallery Director Leslie Thompson, Assistant Gallery Director sarah@reavesart.com leslie@reavesart.com

William Reaves Fine Art 2313 Brun Street - Houston, Texas 77019 - Ph: 713.521.7500 - www.reavesart.com Beuhler Fine Art 6708 San Pedro Avenue - San Antonio, Texas 78216 - Ph:210.288.6544 - www.beuhlerfineart.com

EARLY TEXAS: A Fall Selection

Exhibition Checklist

Artist

1. JosĂŠ Arpa 2. Reveau Bassett 3. Emma Richardson Cherry 4. Alice Chilton 5. Jose Cisneros 6. Jose Cisneros 7. Jose Cisneros 8. Fred Darge 9. Dawson Dawson-Watson

10. Jacob Elshin 11. Jacob Elshin 12. Raymond Evertt 13. Rodolfo Guzzardi 14. Rodolfo Guzzardi 15. Rodolfo Guzzardi 16. Veronica Helfensteller 17. Veronica Helfensteller 18. Veronica Helfensteller

Title

Open Gates Edwards Plateau - Cloud Shadows Garden Scene

Untitled (Blueblonnet Landscape) Buffalo Soldiers Texas Ranger, c.1836 Texas Ranger , c.1870 A Friendly Encounter Untitled (Blooming on the Gallagher Ranch) Defenders of the Alamo Mission Builders Huisache Blossoms Langtry, Texas

Rancho De Taos Untitled (Old Western Town) Beehive Earthquake Terlingua Graveyard

Date

Medium

Size (Inches)

1928 1923 c.1922 n/d n/d n/d n/d c.1944 1938

oil/canvas pastel oil/canvas oil/board pen/ink pen/ink pen/ink oil/canvas oil/canvas

24x34 9x13 36x26 5x7 16x12 16x12 16x12 20x24 25x30

1938 1938 1927 1954 1954 1954-55 c.1948 c.1948 c.1948

oil/board oil/board oil/canvas oil/board oil/board oil/board watercolor watercolor watercolor

23x52 1/2 19 1/2 x42 1/2 20x24 4x6 6x9 4x6 6 3/4 x9 1/2 11x9 1/2 14 1/2 x10 1/2

Artist

19. Peter Hohnstedt

20. Frederick Jarvis 21. Anna Keener 22. Anna Keener 23. Walton Leader 24. Ella Mewhinney 25. Frank Reaugh 26. Porfirio Salinas

27. Porfirio Salinas 28. E.M. Schiwetz 29. E.M. Schiwetz 30. Ruth Uhler 31. Hanna Walker

Title

Untitled (Summer in the Texas Hill Country) Untitled (Scene on Onion Creek) Aspen Glow Morning Light

Scene on Onion Creek Untitled (Bluebonnet at Sunset) Cattle Against a Canyon Backdrop Untitled (Fall in the Texas Hill Country) Untitled (West Texas) Nuestra Senora del Espiritu Untitled (Waving at the Cotton Train) In the Coast Country Roses

Date

Medium

Size (Inches)

n/d

oil/mounted canvas

20x24

n/d c.1948 c.1948 n/d n/d c.1910-20 n/d

oil/canvasboard oil/canvas oil/canvas oil/canvas oil/canvasboard pastel oil/canvasboard

12x16 16x20 24x18 28x36 8x10 3x6 1/2 9x12

c.1940 1967 c.1938 n/d 1926

oil/canvas mixed media mixed media oil/board oil/canvas

12x16 15x19 9 1/2 x9 3/4 4 1/2 x5 1/2 19x15

José Arpa José Arpa (1858-1952) was a prominent San Antonio artist. Born in Spain, Arpa received early training at the School of Fine Arts near Seville. Arpa settled in San Antonio around 1900, working as director of his San Antonio Art School (1926-29). His work has been included in numerous exhibitions, such as: World’s Columbian Exposition, Chicago (1893); Annual Exhibition of the State Fair of Texas, Dallas (1901); The Museum of Fine Arts, Houston (1924); and the Edgar B. Davis Competition, San Antonio (1927-29).

José Arpa is well known for his Texas landscapes, as well as urban-scapes in the state. The artist completed Open Gates, a Galveston subject, in 1928. It was commissioned by Mrs. Magnolia Sealy, first matron of the Sealy mansion, who died before receiving the painting from the artist. The painting depicts the Sealy home, designed by distinguished American architect Stanford White (his only home designed west of the Mississippi). Local construction was overseen by Nicholas Clayton, the premier Texas architect of the day. At the time of its construction, the Sealy home was deemed the most magnificent of Galveston homes and ranked among the most prominent of Texas residents. In the painting, the artist incorporates the island’s signature Oleander flowers, which were planted city-wide as a beautification tool after the deadly 1900 hurricane. Also featured in the painting is the base of the Texas Heroes monument, by Louis Amateis, the island’s tribute to the sacrifices of Texans during the war of independence from Mexico.

Arpa painted at least one other great Texas cityscape of this scale, Irish Flats, in the collection of the San Antonio Art League. Open Gates rivals this work as a beautifully rendered oil painting, recording landmark segments of Texas cities in the opening decades of the 20th century.

Open Gates is oil on canvas. 24x34 inches. Signed lower left by the artist. Condition is excellent.

1. JosĂŠ Arpa Open Gates, 1928 oil/canvas 24x34 in.

Reveau Bassett Reveau Bassett (1897-1981) was a Dallas artist. Bassett also received training at the National Academy of Design and the Art Students League of New York. He taught at the Dallas Art Institute in the 1920s and 1930s and was later director of the Panhandle-Plains Historical Museum in the 1950s and 1960s. The artist completed a mural in the Hall of State, Fair Park, Dallas, which was executed for the 1936 Centennial Exposition. Bassett’s work has been included in exhibitions such as: Annual Texas Artist Exhibition, Fort Worth (1923-27); Annual Exhibition, National Academy of Design, New York (1925); Annual Allied Arts Exhibition, Dallas (1928-29, 1931-32).

Reveau Bassett was also a student of Frank Reaugh, who attained great notoriety as a Texas artist, particularly of sporting subjects, in his own right. In 1923, Bassett participated in one of Frank Reaugh’s storied student expeditions and painted this wonderful pastel entitled Edwards Plateau Cloud Shadows.

2. Reveau Bassett Edwards Plateau - Cloud Shadows, 1923 pastel/paper 9x13 in.

Emma Richardson Cherry Emma Richardson Cherry (1859-1954) was an influential Houston artist. A student at the Art Institute of Chicago and Art Students League of New York, Cherry also traveled and studied at several studios in Paris. Cherry taught privately in Houston and was active in the Texas art life, including organizing the Houston Public School Art League (forerunner of the Museum of Fine Arts). Her work has been included in such exhibitions as: World’s Columbian Exposition, Chicago (1893); Annual Exhibition of the Society of Independent Artists, New York (1922, 1924); Museum of Fine Arts, Houston (1923, 1925, 1931); Annual Houston Artists Exhibition (1925-38, 1942-47); Edgar B. Davis Competition, San Antonio (1927-28).

Mrs. Cherry was Houston’s first professional artist, and one of the first practicing women artists in the state. While she resided in Houston, she was a frequent visitor to San Antonio, where her son-inlaw was an officer at the Randolph Air Force Base. During her career, Mrs. Cherry painted numerous garden scenes, including the general’s garden at Randolph Field. This painting previously hung in the home of her grandson, and is presented in its original Italian frame. The painting bears two exhibition stickers, one from the Southern States Art League from 1922, and the other sticker is believed to be from the Museum of Fine Arts Houston exhibition.

3. Emma Richardson Cherry Garden Scene, c.1922 oil/canvas 36x26 in.

Alice Chilton Alice Mangum Chilton (1891-1978) was a San Antonio artist. Chilton was a member of the Coppini Academy in San Antonio, and studied under fellow Texas artist, Robert Wood. During the 1930s, Chilton founded her own gallery in the Gunter Hotel in San Antonio. Her work was included in exhibitions such as: San Antonio Local Artists Annual Exhibition (1930; Coppini Academy of Fine Arts (1952, 1958).

The example presented here is one of Ms. Chilton’s small but exquisite renditions of Texas bluebonnets.

4. Alice Chilton Untitled (Bluebonnet Landscape), n/d oil/board 5x7 in.

José Cisneros José Cisneros (1910-2009) was an active artist and illustrator in El Paso. Although he received some training at El Valle de Allende in Mexico and Lydia Patterson Institute in El Paso, Cisneros was largely self-taught. By 1937 he had entered into a long-term collaboration with Carl Hertzog, the famous book designer and publisher, which led to the inclusion of his work in several prize-winning books. Cisneros’ work has been included in exhibitions such as: Dallas Museum of Fine Arts (1949); El Paso Museum of History (1992); Panhandle-Plains Historical Museum, Canyon; Witte Memorial Museum, San Antonio.

This accomplished El Paso draftsman and illustrator was also a protégé of the great Tom Lea. Cisneros left a record of riders and travelers of the El Paso area after the centuries of its existence as the great of the north. He was a fellow at Frank Dobie’s Paisano Ranch and illustrated many books on these El Paso subjects. The pen and ink works offered here are of Texas Rangers and Buffalo Soldiers. Cisneros illustrated books on each of the subjects. They are inscribed to Harold Miller, a patron of the artist and rare book collector.

5. JosĂŠ Cisneros Buffalo Soliders, n/d pen/ink 16x12 in.

6. JosĂŠ Cisneros Texas Ranger, c.1836, n/d pen/ink 16x12 in.

7. JosĂŠ Cisneros Texas Ranger, c.1870, n/d pen/ink 16x12 in.

Fred Darge Fred Darge (1900-1978) was an artist in Dallas. Darge attended both the Art Institute of Chicago and Art Students League of New York. The artist spent a large portion of his time out in West Texas, specializing in painting those scenes. His work has been included in exhibitions such as: Art Institute of Chicago (1931,1933; Witte Memorial museum, San Antonio (1934); Texas Centennial Exposition, Dallas (1936); Texas General Exhibition (1941, 1944); Dallas Museum of Fine Arts (1941, 1944, 1947, 1949).

Fred Darge is especially known for painting Western subject matter. He often painted goats and goat herders. He painted the herder named Old Pedro, included herein, on more than one occasion. In this painting, Darge depicts Old Pedro in conversation with a wandering cowhand, visiting while resting on his fabulous pinto pony. This is a classic Darge subject matter, painted early after his migration to Texas and beautifully rendered by the artist.

8. Fred Darge A Friendly Encounter, c.1944 oil/canvas 20x24 in.

Dawson Dawson-Watson Dawson Dawson-Watson (1864-1939) was a San Antonio artist. He received early training from American painter William Mark Fisher. Dawson-Watston also studied under many artists while in Paris. He was director of the Harford Art Society in Connecticut from 1893-96. The artist has also taught at the St. Louis School for the Arts (1904-15). Dawson-Watson later served as director of the San Antonio Artists Guild in 1918. He settled permanently in San Antonio in 1926, winning the National Prize for the local Edgar B. Davis Competition in 1927. His work has been included in exhibitions such as: Art Institute of Chicago (1902-03, 1907-08); Annual Texas Artist Exhibition, Fort Worth (1917-20, 1922, 1929-37); Museum of Fine Arts, Houston (1917, 1932); Pennsylvania Academy of Fine Arts, Philadelphia (1923); Edgar B. Davis Competition, San Antonio (1927-29).

The painting shown here is a classic Dawson-Watson cactus subject matter. It is significant in scale and incorporates the rich and vivid palette for which the artist is known.

9. Dawson Dawson-Watson Untitled (Blooming on the Gallagher Ranch), 1938 oil/canvas 25x30 in.

Jacob Elshin Jacob Elshin (1892-1976) was a painter, muralist, and illustrator. He studied at the Nicholas Calvary School and the Russian Imperial Academy in St. Petersburg. Elshin moved to Seattle in 1923, where he was a member of Puget Sound Group of Northwest Men Painters, Washington Artists Union, Northwest Watercolor Society, and Pacific Coast Artists Association. His work has been included in exhibitions such as: Seattle Art Museum (1937-1965); Portland Art Museum; Corcoran Gallery, Wash. D.C.; Metropolitan Museum of Art, NYC. Although a Seattle-based artist, Elshin took it upon himself to enter the Dallas Post Office Mural competition in 1938. He chose as his subjects two views of the state’s historic “Alamo.” The first of his studies, Mission Builders, 19 1/2 x42 1/2 inches, depicts Spanish soldiers and indigenous tribes at work constructing the original mission. This scene is accompanied by the larger panel entitled Defenders of the Alamo, which invokes the struggles of the martyrs during the battle. These studies are well-executed examples of the artist’s work.

They are historically significant as artifacts of Texas WPA mural competitions and convey classic Texas subject matter.

10. Jacob Elshin Defenders of the Alamo, 1938 oil/board 23x52 1/2 in.

11. Jacob Elshin Mission Builders, 1938 oil/board 19 1/2 x42 1/2 in.

Raymond Everett Raymond Everett (1885-1948) was an Austin artist. He studied under Howard Pyle at the Drezel Institute of Technology, Philadelphia where he graduated in 1906.

Everett also received a degree in architecture from Harvard University in 1909. In 1915, he began working at University of Texas, Austin, where he taught until his death. His work has been included in exhibitions such as: Elisabet Ney Museum, Austin (1916, 1933, 1950); Annual Texas Artists Exhibition, Fort Worth (1922, 192531); Edgar B. Davis Competition, San Antonio (1927).

This is a fine, early executed landscape featuring Texas huisache, painted close to home in Austin.

12. Raymond Everett Huisache Blossoms, 1927 oil/canvas 20x24 in.

Rodolfo Guzzardi Rodolfo Guzzardi (1903-62) was an artist born in Florence, Italy. He first came to Houston around 1933. Although residing in Dallas in 1940, he quickly moved to Houston, where was served as the first chairman of the art department at Sacred Heart Dominican College. During the summers when he wasn’t teaching, Guzzardi traveled West Texas and New Mexico for painting opportunities. These offerings provide two exquisite small paintings of Langtry, Texas in the mid-1950s, as well as a gem depicting Rancho de Taos mission.

13. Rodolfo Guzzardi Langtry, Texas, 1954 oil/board 4x6 in.

14. Rodolfo Guzzardi Rancho de Taos, 1954 oil/board 6x9 in.

15. Rodolfo Guzzardi Untitled (Old Western Town), 1954-55 oil/board 4x6 in.

Veronica Helfensteller Veronica Helfensteller (1910-1964) was a Fort Worth artist, where she was born and raised.

She studied with fellow Texas artist Sallie Blythe Mummert as a child, and later attended the School of Fine Arts Washington University, St. Louis (1926-27), as well as the Colorado Springs Fine Arts Center and the Fort Worth School of Art. Helfensteller traveled to Europe, Guatemala and later moved to Santa Fe, New Mexico and eventually settled in Tuscan, Arizona, where she taught art history and art appreciation at the Valley School for Girls (1961-64). Her work was included in exhibitions such as: Annual Fort Worth Local Artists Show (1940-43, 1945-49); Texas General Exhibition (1940-1945, 1947); American Federation of Arts (1944); University of Texas, Austin (1944); Museum of Fine Arts, Santa Fe (1949), Museum of Fine Arts, Houston (1949).

Helfensteller was a member of the Fort Worth circle, one of Texas’ earliest and foremost groups of modernist painters. She was a watercolorist and printmaker given to abstracted renditions of everyday subjects. Her work is rare. These three watercolors are beautiful executed and most likely done by the artist in the late 1930s or early 1940s. The Earthquake subject is probably inspired be her visit to Guatemala in the late 1930s. The Beehive and Terlingua Graveyard are Texas subjects.

16. Veronica Helfensteller Beehive, c.1948 watercolor 6 3/4 x9 1/2 in

17. Veronica Helfenstellar Earthquake, c.1948 watercolor 11x9 1/2 in.

18. Veronica Helfensteller Terlingua Graveyard, c.1948 watercolor 14 1/2 x10 1/2 in.

Peter Hohnstedt Peter Hohnstedt (1871-1957) was a San Antonio artist. Largely self-taught, Hohnstedt traveled for much of his early career, painting murals and other commissions. He moved to San Antonio in 1929, where he won prizes in the Edgar B. Davis Competition. Hohnstedt is known for his scenes of the surrounding South Texas countryside, the Pecos River, and Big Bend area. Honhstedt’s work has been included in exhibitions such as: Edgar B. Davis Competition, San Antonio (1929); San Antonio Local Artists Annual Exhibition (1930, 1932, 1938, 1940, 1948); Annual Texas Artists Exhibition, Fort Worth (1930-31, 1934-37); Witte Memorial Museum, San Antonio (1933, 1936).

This hill country landscape is typical of the artist subjects and rendered in a tighter style than many of his impressionist landscapes.

19. Peter Hohnstedt Untitled (Summer in the Texas Hill Country), n/d oil/mounted canvas 20x24 in.

Frederick Jarvis Frederick Jarvis (1868-1944) was a Dallas and San Antonio artist. He studied at the Art Students League in New York before moving to Dallas around 1920. He opened his own art school in 1922, teaching classes at Merdick Fine Arts School. He moved back and forth between Dallas and San Antonio, while also making sketching trips to the Southwest and Grand Canyon. His work has been included in exhibitions such as: Annual Texas Artist Exhibition, Fort Worth (1923), Annual Exhibition of the Society of Independent Artists, New York (1926); San Antonio Local Artists Annual Exhibition (1930); Dallas Museum of Fine Arts (1942).

This scene depicts Onion Creek, near Austin, and is similar to the subject in the painting by Walton Leader (see image #23). The two companion paintings would make a great pair for any collector.

20. Frederick Jarvis Untitled (Scene on Onion Creek), n/d oil/canvasboard 12x16 in.

Anna Keener Anna Keener (1895-1982) was an artist who spent her childhood in Dalhart. She studied at the Art Institute of Chicago (1917, 1919) and learned a bachelor and master of arts at Bethany College, Lindsborg, Kansas. Keener taught at several public schools, including Sul Ross State Teachers College (1925-27) after she moved to Alpine. She retired in Santa Fe, where she continued to paint and participate in various art groups. Her works have been included in exhibitions such as: Annual Exhibition of Texas Artists, Dallas Woman’s Forum (1927); Annual Texas Artists Exhibition, Fort Worth (1927); Museum of Fine Arts, Santa Fe (1953, 1956, 1958, 1968).

These two New Mexico landscapes were painted by the artist while she was teaching in Santa Fe in the late 1940s.

21. Anna Keener Aspen Glow, c.1948 oil/canvas 16x20 in.

22. Anna Keener Morning Light, c.1948 oil/canvas 24x18 in.

Walton Leader Walton Leader (1876-1966) was an Austin landscape painter. Although born in Marshall, Leader moved to Austin while young. He studied with Texas artists like Peter Hohnstedt and Harry Anthony De Young. Leader also studied in New York and at the Art Institute of Chicago during 1913-1917. His works have been included in exhibitions such as: San Antonio Local Artists Annual Exhibition (1932); Guild of Austin Artists (1932); Society of Texas Artist, Corpus Christi (1941); Texas Fine Arts Association Exhibition (1944, 1946).

As noted above, this scene of Onion Creek is similar to the previous painting by Frederick Jarvis.

23. Walton Leader Scene on Onion Creek, n/d oil/canvas 28x36 in.

Ella Mewhinney Ella Mewhinney (1891-1975) grew up in Bartlett and studied at Texas Presbyterian College (1910) in Milford under Mary A. Bishop. She later studied in St. Louis, Chicago, and the Arts Student League in New York. In 1922, she organized the Texas Artists Camp with Milly Crowther. Her works have been included in exhibitions such as: Annual Texas Artists Exhibition, Fort Worth (1924-26, 1929-30, 1932-35, 1937); Texas Artists Exhibition, San Antonio Art League (1926); Edgar B. Davis Competition, San Antonio (1927-29); Elisabet Ney Museum, Austin, 1932, 1936); University of Texas, Austin (1936).

This is a small but strong example of Ms. Mewhinney’s landscapes featuring Texas bluebonnets.

24. Ella Mewhinney Untitled (Bluebonnets at Sunset), n/d oil/canvasboard 8x10 in.

Frank Reaugh Frank Reaugh (1860-1945) was a Dallas artist, although he grew up on a small ranch in Kaufman County. During this time, Reaugh developed a lifelong interest in nature, studying the family livestock and later making sketches during the cattle drives he accompanied. He received more training at the St. Louis School for the Arts and the Academie Julian. In 1890, Reaugh moved to Dallas were he opened his own studio and school, as well as serving as director of the Dallas School of Fine Arts. By the 1890s, Reaugh began his annual sketching expeditions to West Texas, and by 1916, had begun to bring his students along for the trips. His work was included in exhibitions such as: World’s Columbian Exposition, Chicago (1893); Louisiana Purchase Exposition, St. Louis (1904); Annual Texas Artists Exhibition, Fort Worth (1910, 1913-14, 1917-18, 1920, 1922-29, 1931-37); Dallas Museum of Fine Arts (1939).

Frank Reaugh is noted for his plein-air studies of the Texas landscape, often featuring cattle subjects on the open range. This small jewel of a painting captures Reaugh’s signature subject matter, featuring cattle grazing against a canyon backdrop. It is a fine example of the artist’s oeuvre, and bears the inscription on verso of the prominent Texas writer J. Evetts Haley, transmitting the piece as a gift to the present owner’s grandmother.

25. Frank Reaugh Cattle Against a Canyon Backdrop, c.1910-20 pastel 3x6 1/2 in.

Porfirio Salinas Porfirio Salinas (1910-73) spent most of his life in San Antonio. He apprenticed with fellow Texas artists Robert Wood and Jose Arpa. Salinas painted while serving in the U.S. Army (1943-45). His Texas Hill Country landscapes gained popularity in the 1950s. President Johnson had commissioned Salinas to paint one of his Texas landscapes, which was to have been presented to President JKF on the day of his assassination. Salinas’ works have been included in exhibitions such as: Laguna Gloria Art Museum, Austin (1947); San Antonio Local Artists Annual Exhibition (1953); Coppini Academy of Fine Arts, San Antonio (1958-59).

Shown here are two exceptional examples of early Texas landscapes by this important painter. These small gems are from the early 1940s, a particularly strong period in the artist’s life. One presents the colorful fall foliage of the Texas hill country, the other depicts West Texas subject matter, including the blooming yucca plants for which he was known.

26. Porfirio Salinas Untitled (Fall in the Texas Hill Country), n/d oil/canvasboard 9x12 in.

27. Porfirio Salinas Untitled (West Texas), c.1940 oil/canvas 12x16 in.

E.M. Schiwetz E.M. “Buck” Schiwetz (1898-1984) grew up in Cuero, where he learned drawing and painting from his mother. He earned a degree in architecture from Texas A&M in 1921. In 1929, Schiwetz settled in Houston working as partner in an advertising agency. Schiwetz’s work frequently appeared in the Humble Way, published by Humble Oil and Refining Company. The artist devoted himself mostly to painting and drawing after retiring in 1966 at his home in Kerr County and various places around Texas. His works have been included in exhibitions such as: Annual Houston Artist Exhibition (1930-40, 1943-48, 1950-53, 195859); Museum of Fine Arts, Houston, (1932, 1953, 1986); Art Institute of Chicago (1932, 1943-44, 1946); Witte Memorial Museum, San Antonio (1937, 1948); Texas General Exhibition (1940, 1943-48).

These Schiwetz works include a great example of the artist’s classic mission subject matter (Nuestra Senora del Espiritu), as well as a small illustrated cotton subject done by the artist in his work with the Anderson Clayton cotton firm.

28. E.M. Schiwetz Nuestra Senora del Espiritu, 1967 mixed media 15x19 in.

29. E.M. Schiwetz Untitled (Waving at the Cotton Train), c.1938 mixed media 9 1/2 x9 3/4 in.

Ruth Uhler Ruth Uhler (1895-1967) was a Houston artist. She graduated from the Philadelphia School of Design for Women in 1921. Uhler also studied in Paris and in Maine. By 1937, she began teaching at the Museum School of Art in Houston and, in 1941, became registrar and curator of education. Uhler’s work has been included in exhibitions such as: Annual Texas Artist Exhibition, Fort Worth (1924-27, 1931-32); Annual Houston Artists Exhibition (1925-28, 1931, 193334, 1936-40); National Exhibition of American Art, Rockefeller Center, New York (1936); Texas General Exhibition (1940).

Uhler’s works are extremely rare and highly coveted by Texas collectors. This small painting on masonite may be a work showing the Florida Everglades. However, it depicts a bayou subject reminiscent of coastal creeks and swamp lands in the Houston area.

30. Ruth Uhler In the Coast Country, n/d oil/board 4 1/2 x5 1/2 in.

Hanna Walker Hanna Walker (1876-1945) was born and resided in Luling. She studied under fellow Texas artists Jose Arpa, Xavier Gonzalez, and Harry Anthony De Young. Her works have been included in exhibitions such as: Texas Artists Exhibition, San Antonio Art League (1926); Edgar B. Davis Competition, San Antonio (1927-29); Annual Texas Artists Exhibition, Fort Worth (1927); Elisabet Ney Museum, Austin (1931); Luling (2009).

On the reverse of the painting presented is a 1926 tag from the San Antonio Art League.

31. Hanna Walker Roses, 1926 oil/canvas 19x15 in.

Beuhler Fine Art