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2013 May 11 Texas Art Signature Auction

by Heritage Auctions


82 lots with images

May 11, 2013

Live Auction

Heritage Auctions | Design District Annex | 1518 Slocum Street

Dallas, TX, 75207 USA

Phone: 800.872.6467

Email: Bid@HA.com

82 Lots
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KELLY FEARING (American, 1918-2011) The Pink Hillocks,

Lot 76001: KELLY FEARING (American, 1918-2011) The Pink Hillocks,

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Description: KELLY FEARING (American, 1918-2011) The Pink Hillocks, 1948 Gouache and tempera on paper 10 x 14 inches (25.4 x 35.6 cm) (image) Signed lower right: Kelly Fearing From the Estate of Kelly Fearing.

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KELLY FEARING (American, 1918-2011) Male Bather with Fi

Lot 76002: KELLY FEARING (American, 1918-2011) Male Bather with Fi

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Description: KELLY FEARING (American, 1918-2011) Male Bather with Fish, 1950 Oil on canvas 17-3/4 x 11-3/4 inches (45.1 x 29.8 cm) Dated and signed lower right: 1950 / Kelly Fearing From the Estate of Kelly Fearing.

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KELLY FEARING (American, 1918-2011) Plants Protecting,

Lot 76003: KELLY FEARING (American, 1918-2011) Plants Protecting,

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Description: KELLY FEARING (American, 1918-2011) Plants Protecting, 1948 Casein on linen 10 x 8 inches (25.4 x 20.3 cm) Signed upper left: Kelly Fearing From the Estate of Kelly Fearing.

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KELLY FEARING (American, 1918-2011) The Sound of Red Ri

Lot 76004: KELLY FEARING (American, 1918-2011) The Sound of Red Ri

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Description: KELLY FEARING (American, 1918-2011) The Sound of Red Rising, 1980/91 Pastel and chalk on black ingres paper 18 x 24 inches (45.7 x 61.0 cm) (image) Signed and dated lower left: Kelly Fearing From the Estate of Kelly Fearing.

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KELLY FEARING (American, 1918-2011) Texas is Much Small

Lot 76005: KELLY FEARING (American, 1918-2011) Texas is Much Small

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Description: KELLY FEARING (American, 1918-2011) Texas is Much Smaller Here Floating Through the Equinox, 1982 Mixed media collage on color-aid paper 8 x 9 inches (20.3 x 22.9 cm) Artist's label verso From the Estate of Kelly Fearing.

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KELLY FEARING (American, 1918-2011) Orpheus with Birds

Lot 76006: KELLY FEARING (American, 1918-2011) Orpheus with Birds

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Description: KELLY FEARING (American, 1918-2011) Orpheus with Birds and Animals, 1959 Carbon pencil and gouache on board 10 x 10 inches (25.4 x 25.4 cm) (image) Titled, signed, and dated in lower margin: Orpheus with Birds and Animals / Kelly Fearing 1959 Inscribed lower center: For Albert on October 27, 1959 From the Estate of Kelly Fearing. PROVENANCE: Artist's label verso.

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KELLY FEARING (American, 1918-2011) Saint Jerome and Li

Lot 76007: KELLY FEARING (American, 1918-2011) Saint Jerome and Li

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Description: KELLY FEARING (American, 1918-2011) Saint Jerome and Lion Above a Glacier, Imaginary Portrait of Bill Bomar, 1995 Etching on paper 11-1/2 x 7-1/2 inches (29.2 x 19.1 cm) (image) Ed. A/P Signed and dated lower right: Kelly Fearing 1995 Editioned and titled lower left: A/P Saint Jerome and Lion Above a Glacier / Imaginary Portrait of Bill Bomar From the Estate of Kelly Fearing.

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BILL BOMAR (American, 1919-1991) Allegory on 'N' #4 Oil

Lot 76008: BILL BOMAR (American, 1919-1991) Allegory on 'N' #4 Oil

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Description: BILL BOMAR (American, 1919-1991) Allegory on 'N' #4 Oil on canvas 16-1/2 x 11-1/2 inches (41.9 x 29.2 cm) Initialed lower left: BB From the Estate of Kelly Fearing.

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DONALD STANLEY VOGEL (American, 1917-2004) Study of Bat

Lot 76009: DONALD STANLEY VOGEL (American, 1917-2004) Study of Bat

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Description: DONALD STANLEY VOGEL (American, 1917-2004) Study of Bathers Oil on canvas laid on board 5 x 8 inches (12.7 x 20.3 cm) From the Estate of Kelly Fearing.

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BROR ALEXANDER UTTER (American, 1913-1993) Pitcher, Two

Lot 76010: BROR ALEXANDER UTTER (American, 1913-1993) Pitcher, Two

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Description: BROR ALEXANDER UTTER (American, 1913-1993) Pitcher, Two Fish, and a Lobster, circa 1950 Oil on canvas 14 x 10 inches (35.6 x 25.4 cm) Signed lower left: Bror Utter From the Estate of Kelly Fearing. Vessels of many varieties formed an important component of Bror Utter's visual iconography. His compositions often incorporated urns, urns with lids, urns with and without handles, chalices, pitchers, libation cups, bowls, bowls with legs, vases, or conch shells, each of these forms seemingly plucked from some treasure chest of antiquity. In Utter's hands, the particular posture of a vessel could slyly suggest human attributes. Slim-waisted containers with wide mouths and bases appeared to lean and tilt with undeniable feminine energy. What all of these vessels were designed to contain was secondary to their beautiful lines and elegant forms. Indeed, Utter was transfixed throughout his life by the form and shape of things. Pitcher of Fishes combines Bror Utter's love of forms with his equally strong affinity for color. If painted in black and white this image would still intrigue, but when seen through a prism of Aegean-like blues, the pitcher becomes an unlikely yet effective crucible of life. Bror Utter's color sense was a constant source of wonder to his Fort Worth contemporaries and continues today as a main source of Utter's appeal.

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ROBERT WILLIAM WOOD (American, 1889-1979) Guadeloupe Ri

Lot 76011: ROBERT WILLIAM WOOD (American, 1889-1979) Guadeloupe Ri

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Description: ROBERT WILLIAM WOOD (American, 1889-1979) Guadeloupe River Scene Oil on canvas 30 x 24 inches (76.2 x 61.0 cm) Signed lower left: Robt. Wood

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ROBERT WILLIAM WOOD (American, 1889-1979) Desert Carpet

Lot 76012: ROBERT WILLIAM WOOD (American, 1889-1979) Desert Carpet

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Description: ROBERT WILLIAM WOOD (American, 1889-1979) Desert Carpet Oil on canvas 16 x 20 inches (40.6 x 50.8 cm) Signed lower right: Robert Wood Titled verso: DESERT CARPET The son of a painter, Wood crisscrossed the United States after arriving from his native England in 1911. He first came to Texas in 1924, painting in store windows in Dallas, Houston, and Corpus Christi before settling in San Antonio. Wood studied with Jose Arpa and exhibited in the 1928 San Antonio Competitive. In 1931, Wood moved to an area near Helotes Creek, northwest of San Antonio. With loose brushwork, powerful color, and spontaneous compositions, Wood's paintings from around 1930 are stylistically his most Impressionist. In his later work, he sometimes returned to this earlier style with unconstrained wildflower landscapes, such as Desert Carpet, which is more consistent with his best Impressionist paintings.

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ROBERT WILLIAM WOOD (American, 1889-1979) Texas Hillsid

Lot 76013: ROBERT WILLIAM WOOD (American, 1889-1979) Texas Hillsid

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Description: ROBERT WILLIAM WOOD (American, 1889-1979) Texas Hillside Oil on canvas 25 x 30 inches (63.5 x 76.2 cm) Signed lower right: Robt. Wood

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JAMES SURLS (American, b. 1943) 8th Annual Liberty Gala

Lot 76014: JAMES SURLS (American, b. 1943) 8th Annual Liberty Gala

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Description: JAMES SURLS (American, b. 1943) 8th Annual Liberty Gala, Houston American Civil Liberties Union, 1979 Pencil on paper 15-3/4 x 20-1/2 inches (40.0 x 52.1 cm) (image) Titled, dated, and signed on lower edge: 8th Annual Liberty Gala / on Nov 10, 1979 / James Surls

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JAMES SURLS (American, b. 1943) Look Out, 1993 Pencil o

Lot 76015: JAMES SURLS (American, b. 1943) Look Out, 1993 Pencil o

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Description: JAMES SURLS (American, b. 1943) Look Out, 1993 Pencil on paper 18-5/8 x 25-1/2 inches (47.3 x 64.8 cm) (image) Titled, signed, and dated on lower edge: Look Out / James Surls 1993 PROVENANCE: Gerald Peters Gallery, Dallas (label verso). East Texas native James Surls is among the most acclaimed Texas artists of the late twentieth century and has found great success outside the state, as well. After graduating from Sam Houston State University and The Cranbrook Academy of Art, he taught at Southern Methodist University and later at the University of Houston and the Lawndale Art Center, Houston. Surls's work is held in many museum collections, and he has had numerous solo exhibitions, including the Dallas Museum of Art in 1984 and The Meadows Museum, Dallas, in 2003.

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JOHN BIGGERS (American, 1924-2001) Midnight Hour, 1995

Lot 76016: JOHN BIGGERS (American, 1924-2001) Midnight Hour, 1995

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Description: JOHN BIGGERS (American, 1924-2001) Midnight Hour, 1995 Etching in colors 18 x 13-1/2 inches (45.7 x 34.3 cm) (image) Ed. 10/60 Titled, signed, dated, and numbered in pencil in lower margin: Midnight Hour / John Biggers 1995

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JOHN BIGGERS (American, 1924-2001) Untitled, 1984 Conte

Lot 76017: JOHN BIGGERS (American, 1924-2001) Untitled, 1984 Conte

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Description: JOHN BIGGERS (American, 1924-2001) Untitled, 1984 Conte crayon on paper 21 x 15-1/2 inches (53.3 x 39.4 cm) (image) Signed and dated lower right:John Biggers 1984 Acclaimed African-American artist John Biggers earned a master's degree in art education in 1948 and a Ph.D. in 1954 from Pennsylvania State University. In 1949, he joined the faculty of Texas State University for Negroes in Houston, now Texas Southern University, where he established and was chairman of the art department. Biggers received a fellowship from UNESCO, the United Nations Educational Scientific and Cultural Organization, in 1957, allowing him to become one of the first African-American artists to visit Africa. This trip to West Africa, which Biggers described as "a positive shock" and as "the most significant of my life's experiences," had a profound impact on his personal and world view and directly influenced his artistic synthesis of African art and culture.

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WILLIAM A. SLAUGHTER (American, 1923-2003) Birds Flying

Lot 76018: WILLIAM A. SLAUGHTER (American, 1923-2003) Birds Flying

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Description: WILLIAM A. SLAUGHTER (American, 1923-2003) Birds Flying Overhead Oil on canvas 30 x 40 inches (76.2 x 101.6 cm) Signed lower left: W.A. Slaughter

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WILLIAM A. SLAUGHTER (American, 1923-2003) Bluebonnets

Lot 76019: WILLIAM A. SLAUGHTER (American, 1923-2003) Bluebonnets

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Description: WILLIAM A. SLAUGHTER (American, 1923-2003) Bluebonnets and Cacti on a Texas Hillside Oil on canvas 24 x 36 inches (61.0 x 91.4 cm) Signed lower right: W.A. Slaughter

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JOHN MCQUARRIE (American, 20th Century) Mural study of

Lot 76020: JOHN MCQUARRIE (American, 20th Century) Mural study of

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Description: JOHN MCQUARRIE (American, 20th Century) Mural study of Sam Houston Oil on board 28 x 29-1/2 inches (71.1 x 74.9 cm) (image) San Francisco sculptor and muralist John A. McQuarrie painted murals in Union Pacific, Central Pacific, and Southern Pacific railroad depots. In 1934, the Southern Pacific commissioned him to paint a 17 x 16 foot mural for Houston's new Grand Central Depot, which was demolished in the 1960s. Sketches of John McQuarrie's 1934 Grand Central Station mural of Sam Houston entering the city of Houston are all that survive of the original, which can now only be seen in photographs. Although McQuarrie may not be well known by some Texas art and Texana collectors, there is no denying that this piece is a special opportunity to own an important piece of Texas art and history, as well as a great symbol of the growth and dynamism, which has characterized the city of Houston from its founding to the present day. Although McQuarrie had been painting murals since at least 1909, he clearly adapted his style to remain current. Although his Sam Houston mural was a private commission, it is consistent in style with those being painted under the fairly rigid dictates of the Federally-funded New Deal art programs. This is especially evident in the heavy outlines of the figures, so as to make them easier to "read" from distance, and the strong colors in the palette.

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AUDLEY DEAN NICOLS (American, 1875-1941) Oracle Arizona

Lot 76021: AUDLEY DEAN NICOLS (American, 1875-1941) Oracle Arizona

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Description: AUDLEY DEAN NICOLS (American, 1875-1941) Oracle Arizona Oil on canvas 20 x 12 inches (50.8 x 30.5 cm) Signed and titled lower left: Audley Dean Nicols S.N.A / Oracle Ariz Moving to El Paso for his health, Nicols became well known for his desert landscapes. He exhibited at the San Antonio Competitives and in El Paso. Nicols studied at the Art Students League and the Metropolitan Museum of Art with figure painters Edwin H. Blashfield, Kenyon Cox, and Henry Siddons Mowbray. Nicols exhibited desert wildflower landscapes in all three San Antonio Competitive exhibitions in 1927, 1928, and 1929. In Oracle, Arizona, and Indian Oasis, Arizona, Nicols used an Impressionist's touch in the application of paint. While utilizing his prototypical landscape built around a road or trail, the artist included flora native to Arizona in the foreground of each painting, including saguaro, greasewood, and prickly pear. Moreover, Nicols captures in both paintings the background haze that he used successfully throughout his Texas career to render the Southwestern landscape.

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AUDLEY DEAN NICOLS (American, 1875-1941) Indian Oasis,

Lot 76022: AUDLEY DEAN NICOLS (American, 1875-1941) Indian Oasis,

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Description: AUDLEY DEAN NICOLS (American, 1875-1941) Indian Oasis, Arizona, 1919 Oil on canvas 16 x 24 inches (40.6 x 61.0 cm) Signed, titled, and dated lower left: Audley Dean Nicols / Indian Oasis, Ariz / 1919

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VERONICA HELFENSTELLER (American, 1910-1964) Golfers, 1

Lot 76023: VERONICA HELFENSTELLER (American, 1910-1964) Golfers, 1

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Description: VERONICA HELFENSTELLER (American, 1910-1964) Golfers, 1942 Mixed media on paper 19 x 23 inches (48.3 x 58.4 cm) (image) Signed lower right: Veronica Helfensteller PROVENANCE: Valley House Gallery Inc., Dallas (label verso). Veronica Helfensteller was a leading member of the Fort Worth Circle. As a child, she was taught art by Sally Blythe Mummert and later went on to study at the St. Louis School of Fine Arts, Colorado Springs Art Center, and Fort Worth School of Fine Arts. A celebrated painter, illustrator, and printmaker, her subjects often included animals and mythical creatures. Her particular brand of Surrealism is characterized by a loose style and dreamy moods. Helfensteller has been widely exhibited and is represented in the collections of the Dallas Museum of Art; the Modern Art Museum of Fort Worth; the Museum of Fine Arts, Houston; the Museum of Fine Arts, Santa Fe; and the Old Jail Art Center, Albany, Texas.

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VERONICA HELFENSTELLER (American, 1910-1964) Still Life

Lot 76024: VERONICA HELFENSTELLER (American, 1910-1964) Still Life

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Description: VERONICA HELFENSTELLER (American, 1910-1964) Still Life with Fruit Watercolor on paper (image) 11-1/4 x 15-1/2 inches (28.6 x 39.4 cm)

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VERONICA HELFENSTELLER (American, 1910-1964) Peacocks,

Lot 76025: VERONICA HELFENSTELLER (American, 1910-1964) Peacocks,

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Description: VERONICA HELFENSTELLER (American, 1910-1964) Peacocks, Fort Worth, Texas Zoo, circa 1935 Watercolor on paper 5-1/4 x 6-3/4 inches (13.3 x 17.1 cm) (image)

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VERONICA HELFENSTELLER (American, 1910-1964) Square Hou

Lot 76026: VERONICA HELFENSTELLER (American, 1910-1964) Square Hou

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Description: VERONICA HELFENSTELLER (American, 1910-1964) Square Houses, circa 1940 Etching with drypoint 4 x 6 inches (10.2 x 15.2 cm) (image) Ed. 10 Titled and signed in lower margin: Square Houses / V Helfensteller

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VERONICA HELFENSTELLER (American, 1910-1964) Untitled E

Lot 76027: VERONICA HELFENSTELLER (American, 1910-1964) Untitled E

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Description: VERONICA HELFENSTELLER (American, 1910-1964) Untitled Etching with drypoint 4-1/2 x 5 inches (11.4 x 12.7 cm) (image) Signed lower right: V Helfensteller

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BROR ALEXANDER UTTER (American, 1913-1993) Landscape wi

Lot 76028: BROR ALEXANDER UTTER (American, 1913-1993) Landscape wi

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Description: BROR ALEXANDER UTTER (American, 1913-1993) Landscape with Houses, circa 1940s Oil on masonite 16 x 20 inches (40.6 x 50.8 cm) Signed lower right: Bror Utter PROVENANCE: Valley House Gallery, Inc., Dallas (label verso). Landscape with Houses is painted in a regionalist style which characterizes much of Bror Utter's work from the late 1930s and early 1940s. His distinctive use of color is already in evidence; the tones of green, yellow and orange contribute to the surrealistic mood of the painting.

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BROR ALEXANDER UTTER (American, 1913-1993) Palatine Hil

Lot 76029: BROR ALEXANDER UTTER (American, 1913-1993) Palatine Hil

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Description: BROR ALEXANDER UTTER (American, 1913-1993) Palatine Hills, 1955 Watercolor on paper 18 x 26 inches (45.7 x 66.0 cm) (image) Signed and dated lower right: PROVENANCE: Valley House Gallery Inc., Dallas (label verso). Bror Utter was one of the leaders of the artist group known as the Fort Worth Circle. He painted Palatine Hills in 1955. It was probably composed from the sketches he made while visiting Rome two years before. This watercolor depicts the Imperial building complex which was the centermost of the Seven Hills of Rome upon which the city was built. The historic Roman subject was the perfect vehicle for Utter's favorite styles and themes. Utter was always fascinated with Roman arches, niches and compartments. He also uses a distorted grid structure to create mismatching planes throughout the composition. This kind of abstraction is almost always present in his skies. The painting's precariously harmonized and eccentric colors are hallmarks of his sophisticated style. All of these elements combine in Palatine Hills to create the surreal quality, brooding mood, and sense of timelessness that characterize his work.

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NANNIE HUDDLE (American, 1860-1951) Field of Bluebonnet

Lot 76030: NANNIE HUDDLE (American, 1860-1951) Field of Bluebonnet

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Description: NANNIE HUDDLE (American, 1860-1951) Field of Bluebonnets Oil on canvas 17 x 22 inches (43.2 x 55.9 cm) Signed lower right: Huddle

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LOIS HOGUE SHAW (American, 1897-2001) Texas Spring  Oil

Lot 76031: LOIS HOGUE SHAW (American, 1897-2001) Texas Spring Oil

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Description: LOIS HOGUE SHAW (American, 1897-2001) Texas Spring Oil on board 20 x 24 inches (50.8 x 61.0 cm) Signed lower right: Lois Hogue Shaw Artist's label verso Lois Hogue Shaw was born in 1897 and attended Sweetwater High School. After she received her B.A. degree in art from Baylor Female College, she studied at several art schools, including the Art Institute of Chicago and the Art Students League in New York. Hogue would go on to teach at Abilene Christian College, Baylor Female College, and McMurry College. She eventually married and settled in Sweetwater, Texas.

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PAUL RICHARD SCHUMANN (American, 1876-1946) On the Wate

Lot 76032: PAUL RICHARD SCHUMANN (American, 1876-1946) On the Wate

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Description: PAUL RICHARD SCHUMANN (American, 1876-1946) On the Water Oil on panel 12 x 14 inches (30.5 x 35.6 cm) Signed lower right: Paul Schumann Paul Schumann has been called the interpreter of the true Texas Gulf Coast. He is well known for Impressionistic paintings of boats, recalling the works of Claude Monet. He worked with bright colors and often used a palette knife to add texture and depth to his canvases. Just as his contemporary Julian Onderdonk immortalized the Texas Hill Country, Schumann captured the beauty and essence of the Texas Coast at the beginning of the twentieth century. Born in Germany, Schumann came to Galveston, Texas, as a child. He studied painting in New York and elsewhere on the East Coast. His Galveston studio was destroyed in the 1900 hurricane, but Schumann rebuilt it on the same site.

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BILL BOMAR (American, 1919-1991) Lilacs and Glasses (la

Lot 76033: BILL BOMAR (American, 1919-1991) Lilacs and Glasses (la

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Description: BILL BOMAR (American, 1919-1991) Lilacs and Glasses (later titled White Flowers), circa 1953 Oil on canvas 44 x 20 inches (111.8 x 50.8 cm) Old label with title, date, and artist attribution verso PROVENANCE: Valley House Gallery Inc., Dallas (label verso). Bill Bomar is considered to be a leader of the Fort Worth Circle. At various times, he lived in New York and New Mexico but remained an active member of the North Texas art community for many years.

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BILL BOMAR (American, 1919-1991) Blue Rocks Pastel and

Lot 76034: BILL BOMAR (American, 1919-1991) Blue Rocks Pastel and

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Description: BILL BOMAR (American, 1919-1991) Blue Rocks Pastel and watercolor on paper 8-3/4 x 6-1/4 inches (22.2 x 15.9 cm) (paper) Initialed lower left: BB

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EVERETT FRANKLIN SPRUCE (American, 1908-2002) Night Bir

Lot 76035: EVERETT FRANKLIN SPRUCE (American, 1908-2002) Night Bir

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Description: EVERETT FRANKLIN SPRUCE (American, 1908-2002) Night Bird, 1941 Litho crayon on paper 9-3/4 x 13-7/8 inches (24.8 x 35.2 cm) (image) Signed lower right: Spruce 41 Labels verso with title PROVENANCE: Valley House Gallery Inc., Dallas (label verso). EXHIBITED: San Francisco Museum of Art, "San Francisco Art Association Exhibition of Drawings and Prints", February 11-March 1 (year unknown) (label verso).

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EVERETT FRANKLIN SPRUCE (American, 1908-2002) Ledge, 19

Lot 76036: EVERETT FRANKLIN SPRUCE (American, 1908-2002) Ledge, 19

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Description: EVERETT FRANKLIN SPRUCE (American, 1908-2002) Ledge, 1969 Acrylic and crayon on masonite 27 x 19 inches (68.6 x 48.3 cm) Signed lower left: SPRUCE Titled and dated verso: Ledge 1969 PROVENANCE: Valley House Gallery Inc., Dallas (label verso). Franklin Everett Spruce's Ledge is painted in a powerful style, which manages to be simultaneously frenzied and ordered. A wonderfully expressive surface contributes to its dynamic yet barely restrained energy, which is moody, hypnotic, and lyrical. Lush colors, especially the reds and lavenders, make this painting compelling and seductive. Born in Conway, Arkansas, Spruce studied with Olin Travis and Thomas Stell at the Dallas Art Institute. He exhibited at the Texas Centennial Exposition and in 1937 was the first Dallas artist to exhibit at New York's Delphic Studios. The Museum of Modern Art acquired a Spruce painting in 1939, and in 1940 he joined the faculty of the University of Texas.

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JULIAN ONDERDONK (American, 1882-1922) Coreopsis, Near

Lot 76037: JULIAN ONDERDONK (American, 1882-1922) Coreopsis, Near

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Description: JULIAN ONDERDONK (American, 1882-1922) Coreopsis, Near San Antonio, Texas, 1919 Oil on canvas board 9-1/4 x 12-1/4 inches (23.5 x 31.1 cm) Signed lower right: Julian Onderdonk Titled, signed, and dated verso: Coreopsis- / near San Antonio, Texas- / -Julian Onderdonk- 1919 The life of the best-known Texas Impressionist, Julian Onderdonk, almost perfectly brackets the rise, practice, and decline of Impressionist painting in the United States. Following studies with his father, Robert Onderdonk, Julian Onderdonk began studying under William Merritt Chase in the Shinnecock Hills on Long Island in 1901. Chase provided the younger Onderdonk with the tools to paint the south-central Texas landscape in an Impressionist manner. Julian Onderdonk's landscapes inspired exhibitions of Texas wildflower paintings held in San Antonio from 1927 to 1929, and ultimately gave rise to the ubiquitous "Bluebonnet School," prevalent in Texas even today. Famous for his bluebonnet paintings, his paintings of coreopsis and other Texas wildflowers are often among his best.

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JULIAN ONDERDONK (American, 1882-1922) Early Morning on

Lot 76038: JULIAN ONDERDONK (American, 1882-1922) Early Morning on

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Description: JULIAN ONDERDONK (American, 1882-1922) Early Morning on the San Antonio River at Mill Bridge, 1919 Ol on panel 8 x 10 inches (20.3 x 25.4 cm) Signed lower right: Julian Onderdonk Titled, signed, and dated verso: Early Morning on the San Antonio / River at Mill Bridge / Julian Onderdonk 1919 Painted the same year as Coreopsis, this painting emphasizes the two stylistic worlds of Julian Onderdonk. Although painted with an Impressionist's brushstroke, Early Morning owes its allegiance to Dutch paintings of The Hague School (popular in the United States from 1875 to 1900), his father's influence (and perhaps even his own Dutch ancestry), and American Tonalism, especially the paintings of Bruce Crane Moreover, while Julian Onderdonk's paintings of the white-hot, sun-drenched southwest Texas landscape and hazy Hill Country scenes are well known, he was also fascinated with different times of day, particularly dusk and dawn, as well as weather.

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JULIAN ONDERDONK (American, 1882-1922) Twilight, 1909 O

Lot 76039: JULIAN ONDERDONK (American, 1882-1922) Twilight, 1909 O

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Description: JULIAN ONDERDONK (American, 1882-1922) Twilight, 1909 Oil on wood panel 6 x 9 inches (15.2 x 22.9 cm) Signed lower left: Julian Onderdonk Titled, signed, and dated verso: -Twilight / -Julian Onderdonk- 1909

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JULIAN ONDERDONK (American, 1882-1922) Sunlit Meadows,

Lot 76040: JULIAN ONDERDONK (American, 1882-1922) Sunlit Meadows,

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Description: JULIAN ONDERDONK (American, 1882-1922) Sunlit Meadows, 1909 Oil on wood panel 9 x 12 inches (22.9 x 30.5 cm) Signed lower right: Julian Onderdonk Titled, signed, and dated verso: -Sunlit Meadows- / -Julian Onderdonk - 1909

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DAWSON DAWSON-WATSON (British/American, 1864-1939) Texa

Lot 76041: DAWSON DAWSON-WATSON (British/American, 1864-1939) Texa

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Description: DAWSON DAWSON-WATSON (British/American, 1864-1939) Texas Cacti Oil on canvas 21 x 16-1/4 inches (53.3 x 41.3 cm) Signed and dated (indistinctly) lower right: Dawson-Watson The vivid colors and painterly brushwork found in Texas Cacti are classic elements of Dawson Dawson-Watson's signature impressionistic style. He is among the most sought after early Texas artists to work in this style. It is an exceptionally beautiful example of Texas Impressionism. Dawson-Watson was born in London, England, in 1864. Before coming to this country in 1893, he had exhibited at the Royal Academy, London, Paris Salon, Exposition Universelle, Paris, Royal Cambrian Academy, and the Royal Canadian Academy. He showed at most of the exhibitions of importance in the United States. He is represented in many museums, libraries, and private collections, both here and abroad.

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FRED DARGE (American, 1900-1978) Pit Stop in the Plains

Lot 76042: FRED DARGE (American, 1900-1978) Pit Stop in the Plains

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Description: FRED DARGE (American, 1900-1978) Pit Stop in the Plains Oil on canvas board 18 x 24 inches (45.7 x 61.0 cm) Signed lower right: F. Darge Born in Germany, Fred Darge came to America in 1924 and studied at the Art Institute of Chicago. During the early 1930s, he worked as a cowhand in the Southwest. After 1945, Darge began making annual sketching trips to West Texas and New Mexico. Darge was one of the few early Texas artists who portrayed cowboys and ranch life consistently in his work. In this painting, the artist depicted a chuck wagon probably in the Davis Mountains of West Texas employing much heavier impasto than he typically used. Moreover, he rendered the sky and foreground using palette knife, a technique fairly rare in Darge's oeuvre. His signature was probably rendered using the end of the brush due to the thick paint.

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FRED DARGE (American, 1900-1978) The Posse Oil on canva

Lot 76043: FRED DARGE (American, 1900-1978) The Posse Oil on canva

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Description: FRED DARGE (American, 1900-1978) The Posse Oil on canvas board 20 x 24 inches (50.8 x 61.0 cm) Signed lower right: F. Darge Titled verso: The Posse

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PORFIRIO SALINAS (American, 1910-1973) Texas Summer Oil

Lot 76049: PORFIRIO SALINAS (American, 1910-1973) Texas Summer Oil

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Description: PORFIRIO SALINAS (American, 1910-1973) Texas Summer Oil on canvas 30 x 40 inches (76.2 x 101.6 cm) Signed lower left: Porfirio Salinas Born in Bastrop, Texas, the son of tenant farmers, Salinas began assisting Robert Wood about 1925. He accompanied Wood and Jose Arpa on plein air sketching trips in the hills surrounding San Antonio. By 1930, Salinas began to paint on his own in an Impressionistic style using fairly heavy impastos as seen in Texas Summer.

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PORFIRIO SALINAS (American, 1910-1973) Bluebonnets on t

Lot 76050: PORFIRIO SALINAS (American, 1910-1973) Bluebonnets on t

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Description: PORFIRIO SALINAS (American, 1910-1973) Bluebonnets on the River Bank Oil on canvas 36 x 24 inches (91.4 x 61.0 cm) Signed lower left: Porfirio Salinas PROVENANCE: Pritchard Art Galleries (Pritchard North Star), San Antonio, Texas (label verso).

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PORFIRIO SALINAS (American, 1910-1973) Bluebonnets, 196

Lot 76051: PORFIRIO SALINAS (American, 1910-1973) Bluebonnets, 196

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Description: PORFIRIO SALINAS (American, 1910-1973) Bluebonnets, 1960 Oil on canvas 13 x 17 inches (33.0 x 43.2 cm) Signed and dated lower left: Porfirio Salinas / 1960 Bluebonnets is a classic example of the Hill Country bluebonnet paintings for which Salinas became nationally famous during the 1960s. Salinas enjoyed much success with his bluebonnet paintings and was beloved by many, including President Lyndon Johnson and first lady Lady Bird Johnson, Speaker of the House of Representatives Sam Rayburn, and Texas Governor John Connelly.

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PORFIRIO SALINAS (American, 1910-1973) Dusk in the Hill

Lot 76052: PORFIRIO SALINAS (American, 1910-1973) Dusk in the Hill

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Description: PORFIRIO SALINAS (American, 1910-1973) Dusk in the Hill Country Oil on canvas 16 x 20 inches (40.6 x 50.8 cm) Signed and dated lower left: Porfirio Salinas / 1965

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JOHN E. ALEXANDER (American, b. 1945) Houston Cityscape

Lot 76053: JOHN E. ALEXANDER (American, b. 1945) Houston Cityscape

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Description: JOHN E. ALEXANDER (American, b. 1945) Houston Cityscape Oil on canvas 69 x 69 inches (175.3 x 175.3 cm) Signed lower left: John E. Alexander Signed verso

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JOHN E. ALEXANDER (American, b. 1945) Untitled (landsca

Lot 76054: JOHN E. ALEXANDER (American, b. 1945) Untitled (landsca

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Description: JOHN E. ALEXANDER (American, b. 1945) Untitled (landscape) Oil on canvas 48 x 48 inches (121.9 x 121.9 cm) Signed lower right: John Alexander

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CHARLES TAYLOR BOWLING (American, 1891-1985) Ice Storm

Lot 76055: CHARLES TAYLOR BOWLING (American, 1891-1985) Ice Storm

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Description: CHARLES TAYLOR BOWLING (American, 1891-1985) Ice Storm Oil on masonite 16 x 26 inches (40.6 x 66.0 cm) Signed lower left: Chas T Bowling A lithographer and painter, Bowling was born in Quitman, Texas. He began painting in his mid-30s, while recovering from an illness, and studied with Alexandre Hogue, Frank Klepper, and with Olin Travis at the Art Institute of Dallas, where he later taught. A founder of the Lone Star Printmakers, he also belonged to the Frank Reaugh Art Club; the Southern States Art League; and the Texas Fine Arts Association. Bowling exhibited at the Dallas Allied Arts, the Texas Centennial Exposition, and the Lone Star Printmakers circuits. In Ice Storm, Bowling stylizes forms in a manner consistent with the paintings of Midwestern Regionalist Charles Burchfield. While Bowling painted both urban and rural scenes consistent with the Regionalist canon, his work often contains the same dark or even macabre edge found in Burchfield's work.

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