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Scottsdale Art Auction

SOA: Texas

Winold Reiss

Sheldon Parsons

APRIL 2018




ESTIMATE: $200,000 - 300,000

24'' X 40'' OIL


34'' X 30'' OIL

ESTIMATE: $120,000 - 180,000


39'' X 26'' OIL


14'' X 24'' OIL

ESTIMATE: $200,000 - 300,000

ESTIMATE: $30,000 - 50,000


20'' X 30'' OIL


36'' X 30'' OIL

ESTIMATE: $100,000 - 150,000

ESTIMATE: $100,000 - 150,000




480 945-0225

• www.scottsdaleartauction.com

Scottsdale Art Auction

Saturday, April 7, 2018


ESTIMATE: $250,000 - 350,000


18'' X 12'' OIL

ESTIMATE: $50,000 - 75,000

25'' X 30'' OIL


ESTIMATE: $400,000 - 600,000


13 ¾'' X 10 ½'' OIL

ESTIMATE: $300,000 - 500,000

20'' X 30'' OIL




color catalogue available $40

For information please call (480) 945-0225 or visit www.scottsdaleartauction.com.




480 945-0225

• www.scottsdaleartauction.com


Charlie Dye, Shoeing the String, 1958, oil on board, 16 x 20 inches Please call for availability


Individual Pieces Collections Dealers Welcome

Contact Us for Complimentary Artwork Appraisals

www.greatamericanwestgallery.com 332 S. Main Street Grapevine, TX 76051 817.416.2600

APRIL 2018 Monthly


Vincent W. Miller



Joshua Rose



Rochelle Belsito



Michael Clawson



Erin Rand


Sally Cameron


John O’Hern


Maia Gelvin


(866) 619-0841


Lisa Redwine



Christie Cavalier



Anita Weldon



Cyndi Hochberg



Cami Beaugureau



Ben Crockett




Adolfo Castillo


Tony Nolan


Audrey Welch


Kevin King


(877) 947-0792


Emily Yee



Jaime Peach



Jessica Hubbard


Copyright © 2018. All material appearing in Western Art Collector is copyright. Reproduction in whole or part is not permitted without permission in writing from the editor. Editorial contributions are welcome and should be accompanied by a stamped self-addressed envelope. All care will be taken with material supplied, but no responsibility will be accepted for loss or damage. he views expressed are not necessarily those of the editor or the publisher. he publisher bears no responsibility and accepts no liability for the claims made, nor for information provided by advertisers. Printed in the USA.

Western Art Collector 7530 E. Main Street, Suite 105, Scottsdale, AZ 85251 Telephone (480) 425-0806. Fax (480) 425-0724 or write to Western Art Collector, P.O. Box 2320, Scottsdale, AZ 85252-2320

Single copies $7.95. Subscription rate for one year is $36. To place an order, change address or make a customer service query, please email service@WesternArtCollector.com or write to P.O. Box 2320, Scottsdale, AZ 85252-2320. POSTMASTER: Send all address changes to Western Art Collector, P.O. Box 2320, Scottsdale, AZ 85252-2320

PUBLISHER VINCENT W. MILLER WESTERN ART COLLECTOR (ISSN 1936-7546) is published 12 times a year by International Artist Publishing Inc.






Brick and Mortar

A s we all know, social media and other digital platforms have increased the amount of art that is being bought online these days. Eager collectors scour the digital version of our magazine, gallery

websites and other similar virtual spaces to find the newest art offered each month from top galleries across the country. To us, all art sales are good things so this is very positive. However, we will always be fans of brick and mortar galleries. Galleries found in places like Santa Fe, San Francisco, Los Angeles, Seattle, Scottsdale, New York City, Boston, Charleston or wherever else one may find a cluster of such spaces these days. The art market needs galleries in order to survive and thrive. It is galleries in these cities where collectors wander into and explore, visit old talents and happily discover fresh ones. As we all know, it is difficult to just look unencumbered at things online; online activities are designed to get in and get business done and get right back out and there is little room for discovery or spontaneity. We all know the feeling we get when we walk into a brand-new gallery space, take in the art on the walls, the new show, the fresh work, turn the corner and see something we’ve never seen before that just speaks to you, that touches you in the way that only fine art can and that you have to acquire. These are the experiences that come from buying art in galleries and nowhere else. And, as far as I’m concerned, it’s one of the major reasons why we all do this in the first place. Art media outlets—not ours of course—have been quick to try and announce the death of the gallery. But it didn’t just take David Zwirner’s new $50 million Renzo Piano designed monolith to let us know that actually the opposite is true. Galleries are flourishing right now and they will continue to flourish because they humanize the art buying process. They remind us what it is about collecting art that brings us so much joy and happiness, and they are always out there, looking for new artists, curating shows, participating in art fairs and just generally doing all they can to promote the idea that nothing makes a home more than a home than one of a kind original art on the walls—chosen by you, found and discovered in person and brought into our lives to live with in perpetuity.

Get Social!


Joshua Rose


art collector





P.S. Have you seen our Art City Focus section yet? We are also scouring the country looking for the best and most innovative cities to feature in this new section. Have one you’d like us to consider? Email me at editor@westernartcollector.com.


Joseph Henry Sharp (1859-1953), The Artist in the Studio Mirror, oil on canvas, 24 x 20” Estimate: $70/100,000 Available at the Scottsdale Art Auction.


May 12



| Live & Online

JOSÉ ARPA Y PEREA (Spanish, 1858-1952) | Breckenridge Park, San Antonio, Texas, 1922 Oil on canvas | 53-1/4 x 45-1/2 inches Estimate: $60,000 - $80,000

Inquiries: Atlee Phillips | AtleeP@HA.com | 214.409.1786




| Track



Always Accepting Quality Consignments in 40 Categories 1 Million+ Online Bidder-Members

Paul R. Minshull #16591. BP 12-25%; see HA.com 48864




ESTIMATE: $10,000 - 15,000


ESTIMATE: $10,000 - 20,000


ESTIMATE: $15,000 - 25,000

30'' X 40'' OIL


ESTIMATE: $8,000 - 12,000



ESTIMATE: $6,000 - 9,000

34'' X 48'' OIL


ESTIMATE: $15,000 - 20,000

20'' X 22'' OIL

24'' X 36'' OIL





480 945-0225

• www.scottsdaleartauction.com






44'' X 60'' OIL

ESTIMATE: $15,000 - 25,000


49'' X 30'' OIL

ESTIMATE: $20,000 - 30,000



18'' X 24'' OIL


30'' X 20'' OIL

ESTIMATE: $10,000 - 15,000

ESTIMATE: $25,000 - 35,000




Session I (128 lots) sold at no reserve

For information please call (480) 945-0225 or visit www.scottsdaleartauction.com. Color Catalogue Available $40.




480 945-0225

• www.scottsdaleartauction.com


Use this magazine to help you become the first to acquire new works for sale at upcoming shows coast to coast


Find out what’s happening across the nation. Western Art Collector is the first magazine to provide nationwide coverage of upcoming shows and auctions showcasing Western art from coast to coast.


In the Preview pages we reveal new contemporary and historic Western works about to become available for sale at the country’s leading Western art galleries.


Each month we alert you to upcoming Western art auctions and events nationwide. Read our reports on prices fetched so you can stay informed and up-to-date on the market.


Find out everything the discerning collector needs to know. Each month our panel of art consultants, museum curators and experts share their behind-the-scenes knowledge of how the Western art market works.


In this feature, we put the spotlight on a different Western state in selected issues and present collectors with a comprehensive buyer’s guide to collecting Western art in each of these states.


Check out and compare each contemporary Western artist’s prices and see what you can expect to pay for their small, medium and large works. You can also see how the artist’s works have been increasing in value as they have become more widely collected.


At the top of each Preview page you’ll see the destination where the upcoming exhibition is showing, the dates, and the gallery address and contact details so you can make inquiries about paintings and sculpture that catch your eye—before they go on sale to the general public.


Each month we will feature a special supplement designed to spotlight the most important segments of the Western art market.


At the end of each Preview you will see an icon inviting you to visit www.WesternArtCollector.com where you can find direct links to galleries that are hosting important upcoming shows.


Visit www.WesternArtCollector.com to see our sensational Virtual Art Walk. When a show announcement catches your eye, click on it and the art will enlarge. Click again and you will be linked directly to the gallery hosting the upcoming show.


Logan Maxwell Hagege, he Rain Falls, he Sun Shines, 2018, oil on linen, 32 x 43 inches. © 2018 Logan Maxwell Hagege, courtesy Gerald Peters Gallery

MAY 10  JUNE 8, 2018


(212) 628-9760







214 West Main Fredericksburg, Texas 888.997.9921 insightgallery.com info@insightgallery.com





“Don’t Take Any Wooden Nickels,”

“The Wacky West Wildlife Show,”

36 x 36” Acrylic on Canvas

30 x 40” Acrylic & Watercolor on Paper on Canvas





Santa Fe, New Mexico mountaintrailsfineart.com

St. Jo, Texas sjmainstreetgallery.com

Manitou Springs, Colorado tracymillergallery.com

Austin, Texas chuckmiddlekauff.com


940- 995-2786





American Indian, Pre-Columbian and Tribal

June 22, 2018 | Dallas | Live & Online

Now Accepting Consignments | Deadline: April 27

A Book of Kiowa Ledger Drawings by Etahdleuh Doanmoe (Hunting Boy) including 33 illustrations Estimate: $60,000 - $80,000

Inquiries: 877-HERITAGE (437-4824) Delia Sullivan | ext. 1343 | DeliaS@HA.com



Paul R. Minshull #16591. BP 12-25%; see HA.com

Always Accepting Quality Consignments in 40 Categories 1 Million+ Online Bidder-Members



APRIL 2018

Previewing New Exhibitions Every Month Coast To Coast




















David Grossmann


Andrew Bolam

Through earth and sky

Visual cognition


Places called home


Wild country

Three-artist show

Wildlife and Western Visions



Scottsdale Art Auction Scottsdale, AZ

William Herbert “Buck” Dunton (1878-1936), Going In, The Bear Hunters. Oil, 39 x 26 in. Estimate: $200/300,000


State of the Art: Texas


Collector’s Focus: Emerging Artists



Global Inspiration


By John O’Hern

Winold Reiss:



Body of Work Electric

By James D. Balestrieri


Parsons & Porter:



Place Like No Other

By John O’Hern


Shifting Views


By Michael Clawson

Emerging Artists: Editor’s Choice



Calling Coast to Coast


Western Art News

30, 32, 34, 36

Recently Acquired


Curating the West


Western Art Trail





Scottsdale Art Auction

Scottsdale, AZ


Scottsdale Art Auction:

Session II


Scottsdale, AZ


Leslie Hindman Auctioneers’ Arts of the American West


Denver, CO


Christie’s Rockefeller Sale

New York, NY

Bonhams’ California

and Western Paintings & Sculpture sale

Los Angeles, CA

Nature’s Cadence:

Paintings by Clyde Aspevig

Billings, MT

Jackson Collects:

Wild Selections from Private Collections

Jackson Hole, WY


Trappings of Texas

Alpine, TX


Cattlemen’s Western Art Show & Sale

Paso Robles, CA


124 Masters of the American West

Los Angeles, CA

Sherry Harrington

Opening Weekend: March 23 & 24

Public Exhibition & Sale: March 25-May 6

San Antonio, Texas Briscoemuseum.org/nightofartists

"Comanche Doll," 24 x 16” Oil on Panel

“Up in Chinle,” 20 x 16” Oil on Linen



1167 Sheridan Avenue Cody, Wyoming 82414 (307) 527-7587 | bhgcody@bighorngalleries.com

P.O. Box 4080 • La Entrada de Tubac, Building K, Tubac, Arizona 85646 (520)398-9209 | tubac@bighorngalleries.com

















1024 Cherokee Street, Suite 200 Denver, Colorado 80204


Oscar E. Berninghaus, (American, 1874-1952) Wandering Home Seeker, 1951 To be sold at our April 21 Arts of the American West auction.

“Bellow,” 24 x 36” Acrylic on Canvas, $3,100

Professional Wildlife Artist


307-201-1172 | thegrandjh.com | Jackson, WY

"Leader of the Pack," 30 x 30” Acrylic on Canvas, $3,450

13th Annual

Art from the Other Half of the West

© 2017 DCWM ï Illustration © Tim Zeltner



www.robbiefitzpatrick.com | robbie@robbiefitzpatrick.com

Represented in Oklahoma by Lovetts Fine Art Gallery Tulsa, Oklahoma

Juried Memberships:

Women Artists of the West Society of Animal Artists Art Renewal Center Living Artist International Guild of Realism

Impatience, watercolor, 18 X 12"



Marc R. Hanson,OPAM- “January Congregation”

Elizabeth Pollie - “Crossing the Divide”

Rosetta - “Jasmine II” - 6” h

H anna

G allery N

Rosetta - ”Fresian Fantasy” - 16” h


24” x 48” Oil

25” x 44” Oil


RSHannaGallery.com | 244 West Main & 208 South Llano St. | Fredericksburg, TX 78624 Proudly Hosting the Women Artists of the West - Second Annual Spring Showcase | (830) 307-3071

Roberto Ugalde

One Man Show O PENS A PRIL 14 TH - MAY


4500 Sigma Rd.


Dallas, TX 75244




Faded Love, Oil on Oil Primed Panel, 14 x 24

gallery and show listings






ESTIMATE: $20,000 - 25,000

36'' X 50'' OIL


High Country Cowhands


Will be sold at Scottsdale Art Auction on Saturday, April 7, 2018

For more information please call (480) 945-0225 or visit www.scottsdaleartauction.com.

33 rd Annual

Bosque Art Classic

National Juried & Judged Representational Art Show & Sale

Jason Rich, CA

2018 Judge

by 2018 John Steven Jones Award

$15,500 in Prizes

May 29, 2018

Prospectus Online/By Request

254.386.6049 | art@BosqueArtsCenter.org

www.BosqueArtsCenter.org | Clifton, TX

“Little Lone Star Steer” 12x9" Watercolor


Cowgirl Artist

Watercolors | Oils | Commissions



Olana Gallery


Listed in Who’s Who in American Art since the 1970’s. Listed in the forthcoming edition of Who’s Who in America.

We stock approximately 15,000 books and catalogs on American Art including 850 Western Art books and catalogs. Olana Gallery was acknowledged in the National Gallery of Art in the Washington, DC 2008 catalog of Edward and Deborah Shein’s Collection of Modernism.

Olana has served American art collectors and lovers, scholars, dealers, universities and colleges since 1971.


olanagallery@comcast.net | 845-279-8077



In the heart of the Texas Hill Country

Where the Legend Lives

Join us as we celebrate our milestone year with special events and exhibitions, including…

September 15-October 28, 2018

35 TH


Call for artist deadline is June 1st

Gala Evening with over 30 western artists on Saturday, September 15, 2018

Visit www.museumofwesternart.com | 830.896.2553

Calling Coast to Coast

We ask leading galleries from coast to coast what their thoughts are on the market and where it might be headed.


Jamie Oberloh

Broadmoor Galleries Colorado Springs, CO

The Broadmoor Galleries has been established for over 35 years and in that time we’ve seen the art market transition and evolve to where the most novice art appreciator can independently research an artist and become an expert with the help of the internet. The buyer is savvier than ever and they know what they want. Fine art has been one of the last forms of physical media to resist the powerful forces of the web and fall victim to complete online commerce. And as we’ve seen the Amazon’s of the world consume music and book stores, we still see most art buyers more comfortable visiting physical galleries for the “gallery experience” that the web will be hard pressed to duplicate. However, we are in an age where online commerce is ubiquitous and a generation of consumers is completely comfortable buying high-end items online—from cars to condos. But just as Amazon never completely killed off the bookstore, the fine art gallery will also sustain. At the Broadmoor Galleries we’ve embraced technology and the digitization of the art market while placing a strong focus on the fundamentals that continue to make us one of the strongest galleries in Colorado: quality, sophisticated work by talented artists, true value of the work and exceeding our clients’ expectation of service by providing an unparalleled art buying



interior view

TJ, the gallery’s dog, in front of Broadmoor Galleries in Colorado Springs, Colorado.

experience. We have the advantage of being located in a 5-star and 5-diamond resort hotel which gives us a captive audience and affords us the ability to represent such talented artists as Benjamin Wu, Bonnie Marris, Gerald Balciar, Alexandr Onishenko and many more.

Broadmoor Galleries

Colorado Springs, CO | (719) 577-5744 | www.broadmoorgalleries.com

Western Art News

Returning Home

Alfred Jacob Miller’s monumental oil painting returns to the Joslyn Art Museum after extended tour.

N ow on view at the Joslyn Art Museum in Omaha, Nebraska, is Alfred

Jacob Miller’s mid-1800s work The Surround. The painting, at nearly 8 feet wide, was a key part of the traveling exhibition Wild Spaces, Open Seasons: Hunting and Fishing in American Art, which opened in 2016 and visited museums in Tennessee, Vermont and Texas. The exhibition included major works from many important Western artists, including William Tylee Ranney, John George Brown, Arthur Fitzwilliam Tait,

Charles M. Russell, William R. Leigh, Charles Deas and Frederic Remington. But it was Miller’s enormous painting of Native American hunters on horseback surrounding buffalo that most enthralled visitors to the acclaimed exhibition. The work, with its dramatic action scene and moody tones, was inspired by a scene Miller saw while traveling in 1837 with William Drummond Stewart, who asked Miller to accompany him on a trip to the Rocky Mountains so he could record their adventures at the

annual fur trading fair known as the rendezvous. “Buffalo hunts were high points of the journey for both men,” according to the museum’s historical record of the piece and its origins. “Miller described a ‘surround’ (a Plains Indian method of hunting): ‘On reaching a proper distance, a signal is given and they all start at once with frightful yells, and commence racing around the herd, drawing their circle closer and closer, until the whole body is huddled together in confusion. Now they begin firing, and as

Alfred Jacob Miller (1810- 1874), The Surround, ca. 1839, oil on canvas, 66 x 94½".

Collection of Joslyn Art Museum, Omaha, NE, Museum purchase,


this throws them into a headlong panic and furious rage, each man selects his animal.’” Miller made his pictures in the field with pencil, ink and watercolors. Later, in his Baltimore studio, he translated these early pictures into oil paintings for Stewart and, later, for other patrons fascinated by the West. The Surround was executed specifically for Murthly Castle, Stewart’s ancestral home in Scotland. For more information about the painting or the museum, visit www.joslyn.org.

Clockwise from top: FREEDOM , 30 x 40" Oil on Canvas; SHE’S GOT THE LOOK

Clockwise from top: FREEDOM, 30 x 40" Oil on Canvas; SHE’S GOT THE LOOK, 36 x 48" Oil on Canvas; SPIRIT HORSE, 36 x 48" Oil on Canvas

2911 Garnett Ave

Wichita Falls, TX



Western Art News

Art and Immigration

A new exhibition at Washington’s Tacoma Art Museum explores Western art made by immigrants to America.

D rawing from a vast collection of materials, the Tacoma Art Museum

in Tacoma, Washington, is now exhibiting Immigrant Artists and the American West, a new exhibition that features work from artists who came from outside the United States. The exhibition, which opened on February 2, taps into the personal and political issues that are at the forefront of an ongoing immigration dialogue. It pulls artwork from the museum’s Northwest Art Collection and the vast Haub Family Collection of Western American Art, as well as featuring prominent loans from other museums and private collections. Artists being shown in Immigrant Artists and the American West come from places such as China, Denmark, England,

Robert Lougheed (1910-1982), Alberta Morning, oil on Masonite, 10 x 20”. Tacoma Art Museum, Haub Family Collection. Gift of Erivan and Helga Haub, 2015.29.10.

France, Germany, Japan, Mexico and Russia, among others. “Immigration is a topic on many peoples’ minds,” the museum states. “With changing policies

and shifting values that affect many people’s lives in our community and beyond, Immigrant Artists and the American West draws attention to how art relates to and responds

to personal and political issues around immigration.” The exhibition will highlight works that show how immigrants often came to the United States looking for better opportunities, and how they had a profound impact on the development of the West. Artists featured include Mian Situ, who was born in China; Canadian-born painter Robert Lougheed; Peter and Thomas Moran, who were both born in England; and modernist painter Kenjiro Nomura, who was born in Japan before coming to the United States as a boy; as well as many other artists. The exhibition will be on view through June 14, 2020. For more information visit www.tacomaartmuseum.org.

Kenjiro Nomura (1896- 1956), Gymnasium, 1945, oil on canvas, 24 x 30”. Tacoma Art Museum, Museum purchase, 2013.6.


Oklahoma City


Discover New Art Available For Sale

The art of major deceased and contemporary Western artists is in demand, and if you’re serious about acquiring new works, you need to know when they become available. When you subscribe to Western Art Collector magazine you’ll be the first to know about new works because each month we’ll email you the link to the latest issue online. You’ll have instant access to the latest issue when it is published. You’ll see art coming available for sale before the shows even open.


12 Issues (Monthly)

Western Art Collector PLUS

6 Issues of (Bimonthly)

Native American Art

Our Sister Publication Launched in January 2016

Coast-To-Coast Coverage

See new art being created by major Western artists coast to coast. Many readers travel across the country to acquire pieces from galleries showing new work in this magazine.

Covering The Major Art Destinations

Our State of the Art sections alert you to the peak seasons for Western art destinations around the nation. You’ll find details about all the major shows opening along with images of new work and dates of upcoming exhibitions.

Embedded Videos

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Videos in each issue let you take part in all the art action—starting from inside artists’ studios to gallery openings and right through to auctions on the go.

Gallery, Auction and Event Previews Auction and Event Reports • Museum Exhibitions

12 Issues of the Monthly Magazine

A visual feast of large-format images and articles previewing new paintings and sculptures from the upcoming shows of major Western artists coast to coast.

Which Subjects Do You Like Best?

In every issue we spotlight different art genres and subjects. Visit our Homepage and click on Editorial Calendar to see the full listing of subjects and the issues they appear in with your subscription.

Which Reader Are You?


Top Form

Works in silver and leather, paint and bronze make a stunning debut at Cowboy Crossings in Oklahoma City.


Major Western Art Auction and Event Previews and Reports

Each month we alter you to upcoming auctions and events nationwide and report on auction results so you can be informed about the Western art market.





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Western Art News

Lady of the Alamo

Texas sculptor Bruce Greene’s newest monument will be placed at the Alamo in San Antonio, Texas.

M any years ago, before Texas painter and sculptor Bruce Greene was even a member of the Cowboy Artists of America, he had

completed a bronze piece of Susanna Dickinson, one of the few survivors of the Battle of the Alamo in 1836. The work was just a tabletop-sized piece, maybe one-sixth life-size, but it left an impression on those who saw it, enough that the officials at the Alamo, decades later, have asked Greene to do another sculpture of Dickinson for the historic site in San Antonio, Texas. The new work, the 89-inch tall The Lady of the Alamo, is now finished in clay and at the foundry for its bronze cast. Its next stop will be the Alamo, where it will join more than a dozen other sculptures, both old and new, on a new sculpture walk that will be part of the renovated Alamo site. The sculptures will tell stories about the Alamo and its most famous figures, from Jim Bowie and Davy Crockett to Dickinson, who, with her 18-month-old baby Angelina, refused to leave the mission and were caught up in the battle. “I just love her story. Her husband, Almaron Dickinson, was one of the men killed in the battle. He was in charge of an area not far from where she was hidden in the baptistery of the mission. She had been offered an opportunity leave, but she stayed with him,” Greene says from his Texas studio. “She even confirms one of the big stories from the Alamo. She saw Davy Crockett run into the church, [fall] on his knees, [make] peace with his maker and then [go] out to die. He was the last person she saw before the Alamo fell. It’s powerful, powerful stuff.” The renovation project has no exact completion date, but once The Lady of the Alamo is casted and finished, likely in May, it will be taken to San Antonio, where it will be unveiled in a garden next to the mission. The work, of which there will be only one edition, features Dickinson holding her baby amid the debris of the battle, including a wagon wheel from a cannon, a sabre sticking out of the soil and a soldier’s hat. “If you’re a sculptor in Texas there’s not a better place in the world to have a piece than at the Alamo,” Greene says of the opportunity to create a work for the historic site near and dear to many Texans. “It was a fun project and I’m just honored they would ask me to contribute at this sacred site.”

Bruce Greene with the clay version of The Lady of the Alamo, a new work that will be placed at the Alamo in San Antonio, Texas.


15"h x 17"w x 8"d

Brone, Edition: 20

A bull moose displays his antlers to showcases his strength to a rival moose. Each year that a bull moose survives, he sheds his antlers and then grows a larger set. A moose that has grown a large set of antlers isn’t just one that is physically stronger, but he is also experienced and mentally strong. He knows what it means to endure. We can, therefore, look to the moose as an inspiration for gaining strength through endurance.


Order yours



Western Art News

Mini Subjects

National Museum of Wildlife Art turns spotlight on small wildlife in exhibition now on view at the Wyoming museum.

T he National Museum of Wildlife Art in Jackson Hole, Wyoming, is now

presenting TINY: Charismatic Minifauna from the Permanent Collection, an ongoing exhibition that focuses on the lesser- painted, but still important, small mammals found in the American wilderness. It’s so often the case that larger animals—buffalo, elk, mountain lion, grizzly bears and pronghorn—are the featured subjects in wildlife paintings, a trend that the Wyoming museum will buck when it highlights works of small animals such as skunks, mice, lizards, insects and petite, delicate birds of many different varieties. The works range from scientific renderings done with exquisite attention to detail to more abstract paintings that capture the mood and attitude of the creatures. Artists in the exhibition include William Jacob Hays Sr., Dwayne Harty and Michael Coleman, whose works are often vast landscapes that show the epic scale of the American wilderness. For this exhibition, Coleman turns his attention to a baby skunk, which is dwarfed by tall green grass that stretches above the subject like a tall forest—a forest just a foot or so tall. The exhibition will also feature works by noted ornithologist John James Audubon, who is most widely known for his bird paintings, but did a great number of works on mammals he encountered on his various

Michael Coleman, Skunk, oil on board, 11 x 14”. JKM Collection, National Museum of Wildlife Art. © Michael Coleman.

William Jacob Hays Sr. (1830-1875), The Pond: Snipes and Frog, 1862, oil on canvas, 8 x 12”. Gift of the 1999 Collectors Circle, National Museum of Wildlife Art.

John James Audubon (1785-1851), Two Bank Mice, 1846, watercolor and pencil on paper, 12¾ x 18 / ”. JKM Collection, National Museum of Wildlife Art.

expeditions. The exhibition will feature work by wildlife painter Wilhelm Kuhnert and modern art

master Pablo Picasso. TINY: Charismatic Minifauna from the Permanent Collection

continues through April 15. For more information visit www.wildlifeart.org.

32nd annual


Exhibit & Sale of Traditional Western Art & Custom Cowboy Gear

April 12-14

Opening Weekend Reception & Sale

Exhibit runs through May 27, 2018

Jack of All Trades Etching by Chessney Sevier 2018 Premier Artist

At the Museum of the Big Bend on the campus of Sul Ross State University in ALPINE, TEXAS

For more information, call 432-837-8143


Bronze Sculptures


he Back Scratcher bronze on granite, 7 x 5 x 9 3/4", edition of 33

Bufalo Pies bronze on granite, 12 x 6 x 9", edition of 30

Recently Acquired

Denver Art Museum:

Birger Sandzén

T he Denver Art Museum has acquired a number of new works throughout 2017,

including a major work by Swedish- American Birger Sandzén, whose impressionist works of the American West have thrilled collectors and art enthusiasts. The 1927 piece, A Mountain Symphony (Longs Peak, Rocky Mountain National Park, Colorado), was purchased by the museum’s Petrie Institute of Western American Art, which governs the Denver Art Museum’s extensive collection of Western art. The oil painting was done in Colorado and has strong ties to the Centennial State. The work has not been viewable by the public since the year it was painted, more than 90 years ago. “After moving from Europe to Kansas, Sandzén visited Colorado every summer between 1908 and 1952,” the museum states

about the work. “In this painting, Longs Peak crowns the colorful visual ‘symphony’ of Sandzén’s interpretation of Rocky Mountain National Park. The vibrant palette, broad brushstrokes and sculptural quality of the paint surface reflect the influence of late-19 th and early-20 th century modernist techniques, many of which Sandzén absorbed while studying in Paris.” In addition to the Sandzén, the museum announced a number of other acquisitions made throughout 2017, either through purchasing or received as donations: a work by French impressionist Eva Gonzalès, two designs by American fashion designer Ralph Rucci, a monumental work by contemporary American artist Mark Bradford, a large work by First Nations artist Kent Monkman (Fish River band Cree/Irish), 30 photographs by

Birger Sandzén (1871-1954), A Mountain Symphony (Longs Peak, Rocky Mountain National Park, Colorado), 1927, oil on canvas, 48 x 60”. Funds from the DAM Westerners, 2017.28

American photographer Brett Weston, and many other important works across many different catagories. “During 2017, the Denver Art Museum strategically enhanced the breadth and depth of its collection through a variety of major acquisitions, both purchases and gifts from generous museum supporters,” the museum stated in a release announcing the acquisitions. “This ongoing refinement and expansion of the museum’s collection exemplifies the [museum’s] enduring commitment to maintain a diverse collection that reflects the community and provides invaluable ways for audiences to learn about cultures from around the world.”

Calling all Western Art museums! Have a recently acquired painting or sculpture? Email the details to editor@westernartcollector.com.


Julie Asher Lee




Fort Worth Stockyards 2400 North Main Street, Fort Worth, TX 76164






817-624- 4242





Art Show

April 21 - May 26

Curating the West

Each Month We Ask Leading Museum Curators About What’s Going On In Their World.

Bryan W. Knicely

Executive Director

Yellowstone Art Museum Billings, MT (406) 256-6804 www.artmuseum.org

What event (gallery show, museum exhibit, etc.) in the next few months are you looking forward to, and why?

Looking forward to the Rough and Tumble: Smoke and Rope show and documentary that is a unique look at what many think is a lost world in the West, but one that is still alive and “kicking” in eastern Montana.

What are you reading?

Currently reading Being a Dog:

Following the Dog Into a World of Smell by Alexandra Horowitz and The Three-Box Solution: A Strategy for Leading Innovation by Vijay Govindarajan.

Interesting exhibit, gallery opening or work of art you’ve seen recently.

Tricia Laughlin Bloom

Curator, American art

Newark Museum

Newark, NJ

(973) 596-6550


What event (gallery show, museum exhibit, etc.) in the next few months are you looking forward to, and why?

I’m excited about the opening of the Rockies and the Alps:

Bierstadt, Calame, and the Romance of the Mountains. This is a great show we’ve been working on for three years, pairing our Western landscape painting collection with paintings of the Alps by both American and

European artists. I’m also looking forward to seeing Tarsila do Amaral: Inventing Modern Art in Brazil at the Museum of Modern Art. She’s a great artist due for this kind of broader attention.

What are you reading?

Annihilation by Jeff VanderMeer. It’s fiction that crosses the genres of sci-fi and horror, set somewhere in the panhandle of Florida. I alternate between

I attended the opening of the Louvre Abu Dhabi back in November. Words cannot describe how fantastic that experience was and the museum itself (architecturally)!

What are you researching at the moment?

The YAM staff is researching the historic and contemporary works of art and their deep connections to the region.

What is your dream exhibit to curate? Or see someone else curate?

My dream exhibit is less traditional than what one may consider a major blockbuster, but instead one of personal

reading to educate myself and reading to escape.

Interesting exhibit, gallery opening or work of art you’ve seen recently.

Louise Bourgeois: An Unfolding Portrait at MoMA was terrific. I’ve always loved her work but hadn’t seen that many of her prints together in one show before. She was a great draughtsman— such confidence in terms of line and imagery—and her imagery is strong and imaginative and feminist in a way that also feels universal.

What are you researching at the moment?

I’m researching works of abstract art in our collection for a catalog we’re producing for publication next year. This will be the

inspiration that comes from each exhibition. My goal in the museum world is to make a connection, sometimes for the first time, between people and art. Every exhibition has the opportunity to engage a community on a thought or theme and allow each patron to view their world through a newly inspired lens. We all know that art transforms our lives daily, and it has been my career goal to break down the barriers of inclusion in the museum world. We all have creative talents and abilities when we are encouraged and/ or inspired to realize them. Each piece of art provides a new opportunity for this personal transformation.

second of two catalogs funded by the Henry Luce Foundation, in a new series titled Seeing America to showcase the ongoing reinstallation of our American and Native American galleries.

What is your dream exhibit to curate? Or see someone else curate?

Reconceiving our permanent modern and contemporary galleries and continuing to integrate Native American, Latin American and African American art as a part of that process is honestly a dream project. For instance, as part of our 2019 reinstallation I’m working on a new gallery of indigenous and modern art that will range from pre-Columbian to contemporary works.

Now Proudly Representing

Greg Newbold

Greg Newbold “Haycropolis” | Oil | 36'' x 60''

Greg Newbold, A Gold Medal Winner Society of Illustrators Los Angeles

Western Art Trail Calendar

Our guide to special events, sales & auctions from coast to coast


April 5-June 16


The Surging, Thundering Herd:

Vintage Bison Engravings

Kalispell, MT – (406) 755-5268 www.hockadaymuseum.og

April 6-8


Cattlemen’s Western Art Show & Sale

Paso Robles, CA – (805) 464-9335 www.cattlemenswesternartshow.com

April 6-27


Places I Call Home

Fredericksburg, TX – (830) 997-9920 www.insightgallery.com

Ending April 7


Beyond Craft: The Art of Ceramics

Kalispell, MT – (406) 755-5268 www.hockadaymuseum.og

April 8-May 5


47 th annual Trail of Tears

Art Show and Sale

Tahlequah, OK – (888) 999-6007 www.cherokeeheritage.org

April 12-14


32 nd Annual Trappings of Texas

Alpine, TX – (423) 837-8143 www.museumofthebigbend.com

Ending April 13


A Place Like No Other: Two Views

of the New Mexico Landscape

Santa Fe, NM – (505) 476-5072 www.nmartmuseum.org

April 21-May 25


Winold Reiss

New York, NY – (212) 535-8810 www.hirschlandadler.com

Kyle Polzin, Letters from Libbie, oil on canvas, 21 x 37" Estimate: $30/40,000

April 7: Scottsdale Art Auction

Scottsdale, AZ | (480) 945-0225 | www.scottsdaleartauction.com

April 21-May 26


Wildlife and Western Visions

Dunedin, FL – (888) 779-2240 www.plainsman.com

Ending April 22


Portraits of the West

Prescott, AZ – (928) 778-1385 www.phippenartmuseum.org

Ending April 22


In Their Honor

Indianapolis, IN – (317) 636-9378


April 24


California and Western Paintings and Sculpture

Los Angeles, CA – (323) 850-7500 www.bonhams.com

Ending April 27


Josh Elliott: Desert Time Travels

Tucson, AZ – (520) 722-7798 www.medicinemangallery.com

April 27-29


42 nd Annual Fine Art show

San Dimas, CA – (909)599-5374 www.sandimasarts.org

Ending April 28


30 Wonders/30 Years: A History

of the Museum in 30 Works

Jackson, WY – (800) 313-9553 www.westernvisions.org

Ending April 29


Laura Wilson: That Day

Cartersville, GA – (770) 387-1300 www.boothmuseum.org


May 1-May 31


5 th annual Miniature Masterpiece Show and Sale

Prescott, AZ – (928) 778-1385


May 5-6


Reflections of Nature: Wildlife and Landscape Show & Sale

Fallbrook, CA – (760) 728-1414 www.fallbrookartcenter.com

Ending May 6


Jackson Collects: Wild Selections from Private Collections

Jackson, WY – (307) 733-5771 www.wildlifeart.org

Ending May 13


Cowgirl Up! Art from the Other Half of the West

Wickenburg, AZ – (928) 684-2272 www.westernmuseum.org

Opening May 19


Harry Fonseca: The Art of Living

Indianapolis, IN – (317) 636-9378 www.eiteljorg.org

Ending May 20


Thunder Boy Jr.:

Illustrations by Yuyi Morales

Muskegon, MI – (231) 720-2570 www.muskegonartmuseum.org

May 21-25


Plein Air Soutwest Painting Competition & Show

Rockport, TX – (972) 960-8935 www.outdoorpainterssociety.com

Ending May 28


Confluence of Color: George Averbeck & Serena Supplee

Flagstaff, AZ – (928) 774-5213 www.musnaz.org


June 2-4


Tesoro Indian Market and Powwow

Morrison, CO – (303) 839-1671 www.tesoroculturalcenter.org

Ending June 3


Anne Appleby: We Sit Together the Mountain and Me

Tacoma, WA – (253) 272-4258 www.tacomaartmuseum.org

June 8-9


Prix de West

Oklahoma City, OK – (405) 478-2250 www.nationalcowboymuseum.org

Ending June 10


Norman Rockwell: Behind the Camera

Tulsa, OK – (918) 596-2700 www.gilcrease.org

Ending June 10


Seasons of the Desert: Landscapes of the American Southwest

Tulsa, OK – (918) 596-2700 www.gilcrease.org

Ending June 10


Z.Z. Wei: Shadow Stories

Cartersville, GA – (770) 387-1300 www.boothmuseum.org

June 10-July 1


107 th Annual Gold Medal Exhibition

Los Angeles, CA – (626)583-9009 www.californiaartclub.org

Ending June 23-24


Brian Lebel's Old West Show & Auction

Santa Fe, NM – (480) 779-9378 www.oldwestevents.com


Ending July 8


Nature’s Cadence: Paintings by Clyde Aspevig

Billings, MT – (406) 256-6804 www.artmuseum.org

Ending July 8


Emil Carlson’s Quiet Harmonies

Billings, MT – (406) 256-6804 www.artmuseum.org

Ending July 22


Cool, Cool Water

Prescott, AZ – (928) 778-1385 www.phippenartmuseum.org

July 28


Coeur d'Alene Art Auction

Reno, NV – (208) 772-9009 www.cdaartauction.com

In every issue of Western Art Collector, we will publish the only reliable guide to all major upcoming sales, events and auctions nationwide. Contact Erin Rand at erand@westernartcollector.com to discuss how your event can be included in this calendar.


April 6-8

Cattlemen’s Western Art Show & Sale

Paso Robles, CA – (805) 472-9100

April 7

Scottsdale Art Auction

Scottsdale, AZ – (480) 945-0225

May 4

Heritage Auctions’American Signature Art Auction

Dallas, TX – (877) 437-4823

May 26-28

Phippen Museum’s 44 th annual

Western Art Show & Sale

Prescott, AZ – (928) 778-1385

May 2018 (Date TBA)

Christie’s American Art Auction

New York, NY – (212) 636-2000

June 8-9

Prix de West

Oklahoma City, OK – (405) 478-2250

June 23-24

Brian Lebel’s Old West Show & Auction

Santa Fe, NM – (480) 779-9378

July 28

Coeur d’Alene Art Auction

Reno, NV – (208) 772-9009

Aug. 18-19

SWAIA Santa Fe Indian Market

Santa Fe, NM – (505) 983-5220

Aug. 22-25

Maynard Dixon Country Camp Out

Mt. Carmel, UT – (800) 992-106

Aug. 2018 (Date TBA)

Heart of the West Contemporary Western Art Show and Auction

Bozeman, MT – (406) 781-0550

Aug. 2018 (Date TBA)

Altermann Galleries’& Auctioneers Santa Fe August Auction

Scottsdale, AZ – (480) 945-0448

Sept. 5-16

Jackson Hole Fall Arts Festival

Jackson, WY – (307) 733-3316

Sept. 5-16

Western Visions

Jackson, WY – (800) 313-9553

Sept. 9-Oct. 14

Quest for the West

Indianapolis, IN – (317) 636-9378

Sept. 21-22

Buffalo Bill Art Show & Sale

Cody, WY – (888) 598-8119

Oct. 4-6

Cowboy Crossings

Oklahoma City, OK – (405) 478-2250

Dec. 2018 (Date TBA)

SWAIA Winter Indian Market

Santa Fe, NM – (505) 983-5220

Jan. 26-27

Brian Lebel’s Old West Show & Auction

Mesa, AZ – (480) 779-9378

Jan. 2019 (Date TBA)

WinterWest Symposium

Denver, CO – (303) 291-2567

Jan. 2019 (Date TBA)

Coors Western Art Exhibit & Sale

Denver, CO – (303) 291-2567

Feb. 2019 (Date TBA)

Masters of the American West

Los Angeles, CA – (323) 667-2000

Feb. 2019 (Date TBA)

Cowgirl Up! Art from the Other Half of the West

Wickenburg, AZ – (928) 684-2272

March 2019 (Date TBA)

Heard Museum Guild Indian Fair & Market

Phoenix, AZ – (602) 252-8840

March 2019 (Date TBA)

Out West Art Show & Sale

Great Falls, MT – (406) 899-2958

March 2019 (Date TBA)

The Russell: An Exhibition and Sale to Benefit the C.M. Russell Museum

Great Falls, MT – (406) 727-8787

March 2019 (Date TBA)

March in Montana

Great Falls, MT – (307) 635-0019

March 2019 (Date TBA)

Briscoe Museum’s Night of Artists Sale

San Antonio, TX – (210) 299-4499

The large painting to the left in the living room is Walt Wooten’s oil The Peace Delegation. Next is Christmas Eve Processional, an oil by Helen Greene Blumenschein (1909-1989), above San Miguel de Allende, 1947, an oil by Richard Riblet, Kaki Grubb’s father. Above the bench is Taos Pueblo, an oil by Kirby Kendrick. To the right is Glacier Peak, an oil by Parke Goodman, on top and an untitled oil by Franz Biberstein (1850-1930) beneath it. At the end of the wall is In Perpetuum, an oil by Douglas Kirsop. To the left of the door is Tom Russell’s oil, Rolling Thunder.



Santa Fe residents bring art from around the world into their collection of stunning Southwest materials.


On the left in the dining room is In Perpetuum, an oil by Douglas Kirsop. To the left of the door is Tom Russell’s oil, Rolling Thunder. His oil, Spotted Eagle, is on the right. Outside the door is Bill Worrell’s steel and stone Spiral and Cross. In the kitchen is The Monaros, an oil by Kate Reynolds. On the right is Brighton Glow by Philip Chen.

K ent and Kaki Grubbs have traveled and lived around the world through his

work as a geologist in the petroleum industry. Their new home in Santa Fe is a reflection of their eclectic taste, their interests and their travels. Their home also reflects the Pueblo revival traditions of Santa Fe partly because of choice and partly because of the strict guidelines for building in an historic district. They had contacted Cody North of True North Builders, a custom home builder in Santa Fe, to show them a piece of land. At the top of a narrow lane they saw a scrubby, rocky, cactus-filled lot that would have scared away less-adventurous clients— and had. When they turned around they saw there was a view of the nearby Sun and Moon Mountains. The Grubbs and North worked well together. “We started out with a basic floor

plan and Cody had a good sense of design and how to build it,” Kent says. “It was such a big project we got to a point where we needed help. Erica Ortiz of Neubleu Interior Design brought in a perspective we wouldn’t have had and brought design ideas we wouldn’t have thought of. Both Cody and Erica steered

us from overdesigning.” Kaki Grubb’s father, Richard Riblet, was

a painter who studied at the Art Institute of Chicago and at the Escuela Universitaria de

Bellas Artes, in San Miguel de Allende, Mexico, on the GI Bill. Riblet wooed his future wife by convincing her mother to allow him to paint

a portrait of her. He wooed and won and the

couple moved to Mexico. “Just in case” she sewed $500 dollars into the hem of her dress. They had two children and were married for nearly 50 years. Kent remarks, “We didn’t have any art in the house to speak of. My brother was artistic

from the get go and, eventually, we had his watercolors hanging at home.” His brother, Chris Grubbs, eventually went to architecture school and became a well-known architectural renderer. “Growing up in Tulsa,” Kent says, “we had what was then the Gilcrease Institute. I’ve always been a fan of Western art, the classic

late-19 th century painters and, later, the Taos Society. Our home in Breckenridge, Colorado,

has more Western art. “The first piece we bought together was from a street artist in New Orleans for $25.” “It had the red and blue palette we both like,” Kaki adds. “We’ve always gravitated toward primary

and bold colors. I love portraiture and Kent got me interested in Western art. I like a little more contemporary art than he does. We learn from each other.” She continues, “We got art as gifts from my father and Kent’s brother and bought a number of pieces from my father.”

At the top of the stairs is an acrylic My Country by the Australian Aboriginal artist, Kudditji Kngwarreye (1938-2017). Next to the door are an antique Fang mask and Luba Heba statue from western Africa. On the right is an untitled acrylic by Patrick Tjungurrayi Olodoodo, who was the winner of Western Australia’s Indigenous Art Award in 2008. On the facing wall are, top to bottom, Majorca, an oil by Leila Ward and Kungka Kutjara, an acrylic by Makinti Napanangka (1930-2011). The Art Gallery of New South Wales, Australia, which has four of her paintings in its collection, notes “Napanangka’s paintings often depict designs associated with the travels of the Kungka Kutjarra (Two Ancestral Women).”

Above the fireplace is Yellowstone River in Paradise Valley, an oil by Parke Goodman. The San Felipe pot which the couple recently purchased in Taos, is by Joseph and Nora Latoma. Outside is Protection Yea, steel, by Fred Begay. The antique chairs belonged to Kaki Grubb’s grandparents, John and Malvina Rugee.

A 19 th century portrait of Kaki’s great-great grandfather hangs in the hall next to a portrait of her mother, Caroline Rugee, 1947, painted by her father, Richard Riblet. At the end of the wall is a 19 th century portrait by an unknown artist of John Rugee’s wife Malvina Rugee. On the right in the foreground is an oil, Old Man with Jug, 1947, by Richard Riblet; his oil, Pedro, 1953; and his oil The Old Gentleman, 1947. The Acoma Pueblo pot is by Adrian Trujillo, circa 1990.

Rocky Falls, an oil by John Tayson, hangs in the master bath.

“We started buying more systematically in the mid-1990s,” Kent explains. “But I started the map collection in the mid-1980s. We were living in Africa as a young couple and were invited to the home of an older couple,” Kaki explains. “He was the head of Kent’s company. They had a large map of the entire continent of Africa.” “I had no idea there were maps like that that could be framed and hung as art,” Kent adds. “A couple of weeks later we walked into a shop and saw two framed maps. One was an 18 th century map of West Africa where we were living. We couldn’t believe you could buy something like that, 250 years old, for a couple hundred bucks! We bought both. Initially the geographical connection was important and we bought maps of places where we were living. As I learned more and more,” he continues, “I developed an objective.

George Coll’s oil, Two Sisters in Monument Valley, hangs in a powder room.

A selection from Kent Grubb’s collection of maps lines

a hallway. They date from the early 1500s through

the mid-1700s, the “golden age” of map making

I wanted to have a representation of the notable cartographers from 1500 to the 1750s which

I consider to be the ‘gold age’ of map making.

They needed to have some geographic interest like the depiction of California as an island as

it appeared in early maps. Plus, they had to be pretty to look at. Building the house we knew we had to have a long wall without direct sunlight to the display them. There are 25 of the best hanging and about 10 or 15 others stored away.” Kent’s interest in Australia began in 1966 when his family hosted an Australian exchange student. Since then it’s been a life-long connection to Australia. “I began work with an Australian petroleum company,” he explains, “and we lived there a total of five years on several assignments. Out of grad school I was assigned to Africa and we gravitated toward African tribal art. Growing up in Oklahoma

I learned about Native American culture. When we went to Australia the first time in 1996,

Aboriginal art didn’t speak to us very much. When we returned in 2001, it was still of no interest. When we went back again in 2011,

our children were grown and it was just the two

of us so we could spend more time in galleries.

Suddenly a light bulb came on. We began to pay more attention.” That year they bought a large and surprisingly colorful painting, My Country,

by Kudditji Kngwarreye (1938-2017) and

a small painting by Makinti Napanangka

(1930-2011). They had seen a large painting

by Makinti in a gallery but were overwhelmed

by the $100,000 price tag. The smaller painting represents the artist well and fit the couple’s budget. Kaki also has a childhood connection to Australia. Her father had been there during

World War II and often told the family stories. “It was thrilling to stand in some of the places he stood. He had liked the work of Norman Lindsay and we went to Lindsay’s home and studio which are now a museum. He painted rather bawdy nudes. We have a small etching

in our collection.” “We’ve only just started collecting Native American pottery,” Kent says. “In grad school

I had a thesis advisor who came to Santa Fe

often, primarily for the opera. He had a great collection of Native pottery in his office and at

his home where he would often invite students for pool parties. I always admired the pots but

I didn’t know much more than the name of

Maria Martinez.” The Grubbs’ new home in Santa Fe is a result of teamwork—the owners working with their builder and designer, and their celebrating their rich life together.

T he new exhibition at Hirschl & Adler Galleries in New York takes its title from

an interesting, and quite funny, article in the March 1931 issue of Du Pont magazine, the trade publication of the manufacturer of chemical compounds and coatings, that is titled “Winold Reiss will not be classified.” As the author finds Reiss in his studio, he is teaching a class, preparing portraits, wrapping up illustrations, looking at swatches and samples for a hotel lounge, planning a new expedition to the West, and talking on the phone to his wife. He even gets a plug in for two of Du Pont’s products: Fabrikoid, for upholstery, and Muralart, as a wall covering. The more you study Reiss, the more you see him as a Renaissance man in the tradition of artists like da Vinci, Michelangelo, and Cellini (the author calls Reiss “A Modern Cellini”) who worked in many fields. But while

A Body of Work

curb…Negotiations would begin…The first question he ever asked anyone posing for him, whether it was a fashionable New York society lady or somebody he’d found on the street, was their ethnic origin. It was important to him to know this background and he felt people should be proud of who they were. He had absolutely no racial prejudice. He defended every race, exalting in racial differences.” Despite there being no major monograph on his work—a serious oversight in American art history—the material facts of Reiss’s life are readily available. He was born in Karlsruhe, Germany, in 1886. His father, a painter whose subject was the German peasantry and landscape, was Winold’s first teacher. Later, Reiss traveled to Munich, studying with Franz von Stuck at the Royal Academy of Fine Arts and with Julius Diez at the School of Applied Arts. Between the two, Reiss received training across artistic disciplines and media, including interior design, textiles, mural painting, and



eludes classification at Hirschl & Adler Galleries exhibition in New York.


Winold Reiss (1886-1953), “Montana Red” Shy, ca. 1931, pastel on Whatman board, 39 x 26". Collection of the artist’s estate; photo courtesy of Hirschl & Adler Galleries, New York.

he is well known among art historians, curators, dealers and collectors, it is curious that he is not better known to the American public at large. Because without any real stretch, Winold Reiss could be, and perhaps should be, to American art what Walt Whitman is to American poetry and letters. Reiss was not only open-minded, but relentlessly optimistic, painting portraits from Native Americans to Mexican revolutionaries and peasants, from the leaders of the Harlem Renaissance to fashion models, from artist friends to hobos he approached on the street, reveling in the diversity and seeing the dignity in every one of his subjects. A glance through Jeffrey C. Stewart’s Winold Reiss: An Illustrated Checklist of His Portraits, which accompanied the 1989-1990 Reiss exhibition at the National Portrait Gallery, will confirm the artist’s multiform fascination with the human face and condition. A very good place to begin to take in both the philosophy and artistry of Winold Reiss can be found in an excellent essay written by John Heminway to introduce the Thomas Nygard Gallery’s 1997 Reiss exhibition, Native Faces. Heminway quotes Reiss’ son, Tjark, “I can remember walking through Union Square on our way to Luchow’s. Invariably, Dad would spot someone sitting on a bench or on the

printmaking, skills that would allow him to advance his career in numerous directions after he sailed for America in 1913. Reiss brought the strong, often repeated patterns, long, curving lines, splashes of bright color, often termed “imaginative symbolism,” that characterized Art Nouveau and the Jugendstil movement in European art but was acutely aware of newer currents, including cubism, that were taking Western art by storm. Avoiding the horrors of World War I that would begin in 1914, Reiss met with early success in New York but suffered for a time once America’s position and eventual participation in the war against the Triple Alliance became evident. But this idea of avoiding the horrors, of missing the war, is a formative one that shouldn’t be overlooked. Pacifistic if not an outright pacifist, Reiss’s positive, hopeful outlook, his ability to embrace and see the dignity in difference, might have taken the dark turn that influences much of modernism after the war. Compare Reiss’s work, for example, with a quick internet search of images of the works of Max Beckmann or George Grosz and see the destabilization of the self, the struggle to maintain dignity, the feeling that, perhaps, dignity is a pose, a mask.

Winold Reiss (1886-1953), City of the Future, Panel I, ca. 1936, oil on canvas, 46 x 101¼". Courtesy of Hirschl & Adler Galleries, New York.

Winold Reiss (1886-1953), Chief Buffalo Hide; Bob Riding Horse and Chief Shot Both Sides; Mike Little Dog [Triptych] 1927-28, gouache on illustration board, 303/8 x 23¼". Courtesy of Hirschl & Adler Galleries, New York.

But why did Winold Reiss come to the United States in the first place? The one-word answer is: Indians. Infatuated, as so many German artists were, by Karl May’s German-language dime Westerns and by the translations of James Fenimore Cooper’s Leatherstocking Tales, Reiss apparently expected to be met at the boat in New York by a war party and was disappointed when he was not. But it wasn’t until 1919 that Reiss headed to Montana, where he turned his amicability onto the Blackfeet, completing some 35 portraits in 30 days and earning the name “Beaver Child” for his assiduity when, on one of his many Montana sojourns, he made a member of the nation. A 1928 work, Triptych Design for a Mural Commission, a major work intended for the Chrysler Building but derailed by the Depression, combines portraits of Buffalo Hide, Bob Riding Black Horse, Chief

Shot Both Sides, and Mike Little Dog, four Blackfeet elders, survivors of the last battles of the Indian Wars. The faces and hands of the men tell their stories, but Reiss dresses them in their brightest regalia as they sit and stand beside tepees that recount buffalo hunts and battles. The landscapes behind the four chiefs explode with pattern and color, a precursor to Pop Art, maybe, but also in line with 1930s animation. At right, Mike Little Dog looks at the story unfolding across the hide of the teepee. His right hand is curious, as if he is imagining himself holding a brush of some kind, as if he is an artist adding his story to the story on the skin. The maturation of Reiss’ style, seen here in the Triptych, is discussed in the literature accompanying the Hirschl & Adler exhibition, “As he traveled, Reiss’s style began to reflect the influence of the aesthetics, color palette, and patterns of indigenous

American visual culture. He blended this into his now hyphenated German-American vocabulary, reaching for an artistic language expressed in the most universally accessible terms that would convey the respect he felt for all his subjects.” When Reiss died, his widow sent his ashes to Montana. The Blackfeet honored “Beaver Child” and scattered his remains to the winds. Reiss was a walker and hiker—what better way to find subjects than to encounter them on foot?—and in 1920, Reiss walked through northern Mexico, painting veterans of the Revolution and peons, people who, like the German peasants his father painted, were tied to the land. Back in New York, Reiss took note of the artistic revolution taking place in Harlem and he began to document key figures in what has come to be known as the Harlem Renaissance.

Winold Reiss (1886-1953), Blackfeet Girl (Sacred Bird Woman, Pauline Running Crane, Natoyepekzaki), 1943, pastel on Whatman board, 30 x 22". Collection of the artist’s estate; photo courtesy of Hirschl & Adler Galleries, New York.

Winold Reiss (1886-1953), Short Haired Young Man in Collarless Shirt, color pencil on black paper, 25 x 20". Collection of the artist’s estate; photo courtesy of Hirschl & Adler Galleries, New York.

Winold Reiss (1886-1953), Original Painting for Cincinnati Union Terminal Mosaic

Murals: Inks

the artist’s estate; photo courtesy of Hirschl & Adler Galleries, New York.


and Writing, 1930-31, oil on muslin, 111 x 116". Collection of

Among many others, Reiss painted Langston Hughes, W.E.B. Du Bois, and Zora Neale Hurston. He also taught Aaron Douglas and encouraged the young painter to look to African art for inspiration. The subject of Short Haired Young Man in Collarless Shirt isn’t a celebrated poet or thinker, but you can see many of the hallmarks of Reiss’ portraiture. Outlines of the young man radiate out like ripples, as if his likeness has been dropped into a still pond. Or, perhaps, despite his stolid expression, these represent the sitter’s life force, his “body electric,” as Whitman wrote, charging the very air around him. Even as the Harlem Renaissance occupied him, Reiss began to incorporate aspects of cubism and other modernist practices in what he called his “imaginatives,” untitled watercolors and drawings with parallel lines and curves, wild Art Deco cities of fantasy with jazz age rhythms. These are explorations, geometry meeting physiognomy in an architectonics of radiance that connects individuals with one another and with their surroundings. It will come as no surprise, then, that Winold Reiss was something of a futurist, almost a kind of sci-fi optimist and City of the Future (Panel I) offers a glimpse into Reiss’s dreamlike vision in which beautiful design would unite the world. This union of person and place comes together in the portrait of “Montana Red” Shy. Gunman, cowboy cattle rustler, a son of his soil, Reiss pictures him with his hand on his sixgun, his hawk-like eyes looking off. As the saloon he once shot up


Winold Reiss (1886-1953), Untitled, ca. 1925-30, colored pencil on paper, 197/8 x 14". Collection of the Reiss Partnership; Photo courtesy of Hirschl & Adler Galleries, New York.

appears behind him in a hazy, surreal dream, something about the bold, pink, candy-striped shirt—clean and pressed—hints at another side to the old outlaw who may have outlived his time. Intelligibility, making sure his art read to his audience, whether that audience was looking at his portraits or having a drink at the bar he designed, was important to Reiss. Making sure that he wasn’t condescending to those who looked at his work went hand in hand with his notion of human dignity. Winold Reiss’s vision is positive, communal and gregarious, running counter to the romantic myth (and it is a myth) of the solitary, alienated artist, ever at odds with society and its forms.

As individuated as his portraits are, they are meant to connect the individual to humanity as a whole. For Reiss, there is no race other than the human race. This, Reiss’ liberal yet patriotic

vision, is the key to his artistic legacy; it is the reason for his relative obscurity and it is one of the best reasons to revisit him and his work. You can almost hear all the people Reiss painted, singing the words Walt Whitman wrote in For You O Democracy in electrifying unison:

I will plant companionship thick as trees

along all the rivers of America, and along the

shores of the great lakes, and all over the prairies,

I will make inseparable cities with their arms about each other’s necks…

Winold Reiss will not be classified

April 12-May 25, 2018

Hirschl & Adler Galleries, 41 E. 57 th Street, 9 th Floor, New York, NY 10022

(212) 535-8810




New Mexico Museum of Art highlights Sheldon Parsons’ and Eliot Porter’s time in Santa Fe.


I n 1962, the Sierra Club published In Wildness is the Preservation of the World

by Eliot Porter (1901-1990) and Henry David Thoreau (1817-1862). Although they lived a century apart, their dedication to nature

and to conservation matched perfectly. Porter coupled his magnificent color photographs of the woods of New England with passages from Thoreau’s writings.

Porter grew up in Chicago and went to Harvard where he received his undergraduate degree in mechanical engineering and later his M.D. He had been photographing since he was a child and his brother was the painter Fairfield Porter. His black-and-white photographs impressed Alfred Stieglitz so much that he gave him a one man show at his influential gallery, An American Place. The exhibition established

Above: Sheldon Parsons, ca. 1930, Courtesy Palace of the Governors Photo Archives (NMHM/DCA), 135183. Right: Sheldon Parsons (1866-1943), The Coming Storm, oil on canvas. Gift of the Estate of Joan Higgins Reed, 1983. Museum number 1983.34.7.

Sheldon Parsons (1866-1943), Santuario, 1918, oil on wallboard panel. Gift of New Mexico Archaeological Society, 1919. Museum number 280.23P.

A Place Like No Other on display at the New Mexico Museum of Art.

Porter as a major photographer and he gave up his scientific career to join his brother in the art world. He moved to Tesuque, New Mexico, in 1946, to pursue the new world of color photography despite black and white photography’s dominance in the field. His first exhibition at the New Mexico Museum of Art was of black and white images primarily of New Mexico architecture. Some of those photos are included in the exhibition A Place Like No Other: Two Views of the New Mexico Landscape at the New Mexico Museum of Art in Santa Fe through April 13. The museum celebrates the 100 th anniversary of its opening with this exhibition which also includes the paintings of Sheldon Parsons (1866-1943). The museum notes, “Both men came west and found themselves deeply inspired by the land, skies and culture of New Mexico…Both artists looked to New Mexico’s most iconic features for their subject matter, the stark and stunning land and the characteristic adobe of its traditional buildings. In the wake of the recent World War, they chose to portray New Mexico as a rustic and pastoral land, seemingly untouched by time.” Parsons came to Santa Fe in 1913 when he suffered a flare up of tuberculosis on his way to San Francisco. Many artists of the period came to Santa Fe and Albuquerque at the time looking for relief and recovery from the disease. He stayed on and switched from painting portraits to painting the landscape of his new home.

Edgar Lee Hewitt showed his work at the Palace of the Governors in 1915 and Parsons became the first director of the museum when it opened two years later. Parsons was born in Rochester, New York, and studied at the National Academy of Design with William Merritt Chase. Among his portrait commissions were paintings of William McKinley and Susan B. Anthony. After moving to New Mexico and regaining his health he not only changed his subject matter but he began painting in a looser impressionist style. His palette was the soft colors of the year ‘round landscape with the vibrant yellows of fall.

Sheldon Parsons


Clouds, ca. 1942, oil on plywood panel, 36¼ x 36¼”. Collection of the New Mexico Museum of Art. Gift of Sara Parsons Mack, 1948 (19.23P). Photo by Blair Clark.

A Place Like No Other: Two Views of the New Mexico Landscape

Through April 13, 2018

New Mexico Museum of Art, 107 W. Palace Avenue, Santa Fe, NM 87501

(505) 476-5072, www.nmartmuseum.org

Walter Ufer (1876-1936), Summer Trail, Taos, oil on canvas, 20 x 24”. Courtesy Gerald Peters Gallery. Collection of Gil Waldman and Christy Vezolles.


T he desert is everything all at once. It’s dusty and hot, and yet a single

thunderhead can saturate the sandy soil and flood the desolate creek beds and water- starved arroyos. The desert can be all sharp angles, cacti spines and jagged rock edges, and yet also soft and gentle like the rolling buttes in the distance or the yellow-tipped chamisa that blooms bouquets of golden flowers. It can be vast, and yet confining. Quiet and still, and yet explosively powerful. Like looking through a diamond, the desert shimmers with possibility, a kaleidoscope of shattered images each more limitless than the one before it. A new exhibition at the Gilcrease Museum in Tulsa, Oklahoma, will explore the shifting nature of the desert, particularly locations in Arizona and New Mexico, when it presents Seasons of the Desert: Landscapes of the


Oklahoma’s Gilcrease Museum highlights selections from the collection of Gil Waldman and Christy Vezolles.


American Southwest. The exhibition, which opens March 16 and continues through June 10, will present new views of the desert and ask museum visitors to expand their horizons of what the desert is and what it represents. “In popular imagination, desert climates are often stark—dusty, barren wastelands of lifeless, parched earth. Over the years, writers, artists and filmmakers have portrayed the desert as a metaphor for emptiness and death. All too often, deserts are defined only by what they lack. But there is another side to the story,” writes senior curator Laura Fry in the exhibition catalog. “For millennia, the dry climates of the American Southwest have been home to flourishing civilizations, unique architecture, and sophisticated arts. Far from a place of emptiness, this desert is full of life with a rich cultural heritage. Beginning in the early 20 th century, after railroads made the Southwest increasingly accessible for travelers, modern

American painters began to recognize the distinct beauty of this place. In their work, the brilliant colors of the changing seasons reveal the vibrancy of the desert landscape.” The exhibition draws from the collection of Arizona collectors Gil Waldman and Christy Vezolles, who are familiar faces at many Western art events and museums—Waldman is a founding trustee at Western Spirit: Scottsdale’s Museum of the West in Arizona, Vezolles is a trustee at the Heard Museum, and they both serve on national advisory boards for the Gilcrease and Eiteljorg museums. Waldman became interested in Western art after moving to Tulsa in the 1950s. His wife at the time, Nancy, would visit the Gilcrease and they would eventually become volunteers, as well as attending seminars on the Taos Society of Artists and other subjects. They began collecting in the 1980s. Vezolles taught art and design classes in Ohio for 14 years

before moving to the Navajo Nation in the 1990s, when she began creating and collecting art before moving to Phoenix to become an appraiser of fine art and American Indian art, as well as a docent at the Heard Museum. In 2011, Nancy passed away and Waldman and Vezolles struck up a bond over their shared interest in travel, museums and modernist and Native American art. They’ve been married since 2014, and they’re separate collections are now one. Works in the exhibition include important Taos Society of Artists works such as Walter Ufer’s Summer Trail, Kenneth Adams’ still life Iceland Poppies, William Herbert “Buck” Dunton’s landscape with deer Heart of the Rockies, and B.J.O. Nordfeldt’s New Mexico Landscape. Other works include pieces by Nicolai Fechin, Victor Higgins, Woody Gwynn, Dorothy Brett, Maynard Dixon and Dixon’s third wife, Edith Hamlin. Many of the works, including the Nordfeldt,

William Penhallow Henderson (1877-1943), Two Riders in the Canyon, ca. 1919, oil on board, 16 x 20”. Collection of Gil Waldman and Christy Vezolles.

Edith Hamlin (1902-1992), Sand Wash in Spring, 1949, oil on canvas, 20 x 24”. Collection of Gil Waldman and Christy Vezolles.

Gene Kloss (1903-1996), Arroyo Hondo, Taos, 1937, oil on canvas, 22 x 28”. Collection of Gil Waldman and Christy Vezolles.

are quite modern with fragmented aspects of the landscape, refracted light that cuts jagged paths through the sky and abstracted human elements, from figures on horseback to adobe

Evening was an early acquisition that was given renewed importance after Waldman met an elderly Hogue late in his life. For Vezolles, she cherishes William Penhallow Henderson’s Two

structures. Modernist artists represented include Gene Kloss, Alexandre Hogue, Andrew Dasburg, Emil Bisttram and Fremont Ellis, as well as works from living artists such as Ed Mell and Navajo painter Tony Abeyta. Mell’s piece, Cloud Flower, is a single blue flower framed within an immense cloud, while Abeyta’s work, The Village that was once people of this earth, is

Riders in the Canyon, depicting the artist and his daughter, which “exemplifies the modernist aesthetic exceptionally well and is drawn to its vibrant color palette,” she says, adding that the Abeyta work is important to them as well since the artist is a long-time friend. Although the exhibition only focuses on 27 paintings, the couple’s collection is vast and


rhythmic pulse of paint set to the steady beat

includes a considerable amount of historic


a Santa Fe shower that drums over the adobe.

paintings of the American West, including

“One aspect of modernism that is so appealing is the way the artists distill a scene to its essence, capturing the spirit without specifying every detail,” Vezolles says. “This allows for a more personal interaction and interpretation on the part of the viewer.” Although the collections were started separately, they each recall their first major purchases. For Waldman, it was a Joseph Henry Sharp in 1988. “It was displayed in the window at Golden West Gallery in Scottsdale, along with a Maynard Dixon,” he says. “Being cautious, I only purchased the Sharp, but often wished I had bought them both.” For Vezolles, her first big purchase was a piece by Mell, and was later delighted to learn that her future husband was also a collector of the Phoenix painter’s works. The exhibition is filled with works that mark important times of their lives and in the lives of the artists who created them. For instance, the Hogue piece, Rabbit Weed in Bloom – Late

works from Albert Bierstadt, Charles M. Russell, Frederic Remington, Taos Society of Artists members, N.C. Wyeth, Robert Henri, Marsden Hartley and Georgia O’Keeffe, to name just a few. They also collect a variety of American Indian art forms such as Navajo weavings, Hopi katsinam, Pueblo pottery and jewelry. “A collection like theirs really shows you how good their eye is for art,” says Fry, who helped curate the show from the collection. “When looking at everything together you really get a sense for their range of tastes and interests. The variety is just wonderful. And not only are they collecting a wide range of works, they are truly collecting some of the best works from these artists and the eras they painted in.” Fry says she viewed the collection in their home, and narrowing down which paintings to take was difficult because of the quality and importance of many of the pieces. One thing that she was drawn to was their interest in works by women painters. “They have some fantastic

B.J.O. Nordfeldt (1878-1955), New Mexico Landscape, oil on canvas, 26 x 32”. Collection of Gil Waldman and Christy Vezolles.

Gil Waldman and Christy Vezolles in Taos, New Mexico.

Tony Abeyta, The Village that was once people of this earth, 2014, oil on canvas, 42 x 48”. Collection of Gil Waldman and Christy Vezolles.

Ed Mell, Cloud Flower, 2013, oil on linen, 30 x 30”. Collection of Gil Waldman and Christy Vezolles.

examples of women painters of the West from the 20 th century, from Olive Rush to Edith Hamlin,” Fry says. “The Hamlin is especially wonderful because you can see her painting the Sonoran Desert in Southern Arizona and being inspired by Maynard but putting her own spin on it.” Waldman and Vezolles hope that visitors to the museum can appreciate the stunning qualities of the desert and the works that were inspired by it. “The exhibit shows a range of styles and interpretations of the landscape and nature amongst the Southwestern artists, even

within a modernist ethos,” they say. “Also, the works in the exhibition defy the stereotype that the great Southwest is a barren land with sand, rock formations and the occasional saguaro cactus. Some people appear to have gotten their concept of the landscape from Bugs Bunny and Roadrunner cartoons and John Wayne movies. Hopefully after seeing this show, people will have a broader perspective.” Seasons of the Desert: Landscapes of the American Southwest continues through June 10 at the Gilcrease Museum.

Seasons of the Desert: Landscapes of the American Southwest

Through June 10, 2018

Thomas Gilcrease Institute of American History and Art, 1400 N. Gilcrease Museum Road, Tulsa, OK 74127

(918) 596-2700, www.gilcrease.org

State of the Art:

Sculptures at Pioneer Plaza in Dallas. Photo by Clay Coleman. Courtesy Dallas CVB.

W ith fields dotted violet and red from bluebonnets and prairie-fire and lands filled with longhorn,

the country scenes and wild plains of Texas draw to mind the life of the cowboy. It is no wonder so many Western artists call the Lone Star State home. That same spirit is celebrated throughout the state in art districts, galleries and museums. Houston is famed across the United States for its annual rodeo and livestock show. Carrying the spirit of that event is the American Cowboy museum, housed on the Taylor- Stevenson Ranch just outside of Houston.

Showcased at the museum are historic letters, photographs, oral histories and artifacts of Texas heritage. Downtown, the 19 museums are clustered in the Houston Museum District, all located within a mile and a half of the famous Mecom Fountain. Though the phrase “Remember the Alamo” predates Texas as an American state, it indelibly marks San Antonio’s role in the Old West. Just a few blocks away from the historic landmark is the Briscoe Western Art Museum, which brings Western works to the city’s scenic River Walk. Every year in March the museum hosts its Night of Artists, which

showcases artwork alongside cowboy gear. In the city’s Brackenridge Park, the Witte Museum has a gallery devoted to early Texas history, and the King William Historic District and Southtown are also home to numerous art galleries and museums. Deep in the heart of central Texas, Austin’s University of Texas campus hosts the Blanton Museum of Art and the Lyndon Baines Johnson Presidential Library. Also located in downtown Austin is the Bob Bullock Texas State History Museum, which gives visitors and locals alike a lesson on the state’s history. In between Austin and San Antonio,

Horse and carriage at the Inn at Dos Brisas in Houston. Courtesy Katie Park.

Bluebonnets in bloom. Courtesy kan_khampanya / Shutterstock.com

art lovers with a taste for small towns can find multiple destinations within the Texas Hill Country. The German-settled town of Fredericksburg is the location of a fast-growing art scene. Galleries in town host a monthly First Friday Art Walk during which operating hours are extended from 10 a.m. to 8 p.m. Also in the region, Boerne, Orange and Gruene offer fine art and restaurants to visitors. The northern portion of the state is home to the twin cities of Dallas and Fort Worth. The Dallas Arts District is a massive 68-acre campus, which houses the Dallas Museum of Art along with a number of other cultural

institutions. With Public ArtWalk Dallas, visitors can lead themselves on a 3.3-mile self-guided tour that highlights the city’s public art. In the West End Historic District, patrons can shop at Wild Bill’s Western Store and view works in the neighborhood’s many museums. The Dallas Art Fair takes place this year April 13 through 15. Dubbed the “City of Cowboys and Culture,” Fort Worth gives the Old West an urban feel. At the heart of downtown, Sundance Square highlights the city’s cowboy history via its many art museums. The National Cowgirl Hall of Fame also calls the city home.










Fort Worth






State of the Art: TEXAS

A view of the San Antonio River Walk. Courtesy Shutterstock.com.

Taking place this year April 19 through 22, the Main St. Fort Worth Arts Festival stretches nine blocks through the city, showcasing fine arts, crafts and live music. In the pages of this destination guide, readers will find galleries including Dove’s Gallery, Great American West, InSight Gallery, RS Hanna Gallery and Southwest Gallery; auction houses such as Heritage Auctions; and other Western art institutions like the Bosque Arts Center, Museum of the Big Bend, Museum of Western Art and the National Ranching Heritage Center. Also featured are the artists that call Texas home, such as Chuck and Barbara Mauldin, Chuck Middlekauff, Douglas Clark, Julia Asher Lee, Kathy Tate, Robbie Fitzpatrick and Sherry Harrington.

The Monument au Fantôme by Jean Dubuffet in Houston. Courtesy Visit Houston.

State of the Art: TEXAS

InSight Gallery

214 W. Main Street, Fredericksburg, TX 78624, (830) 997-9920 www.insightgallery.com

InSight Gallery represents a select group of fine painters and sculptors living and working today in landscape, figurative, still life impressionistic, wildlife, sporting and Western art. The gallery is home to numerous award-winning Master Oil Painters of America, Cowboy Artists of America, Prix de West, American Impressionist Society Masters, American Pastel Society Masters and Masters of the American West artists. Located in charming Fredericksburg, Texas, an art destination in the heart of the Texas Hill Country, the gallery is housed in an immaculately restored historic building with 8,000 square feet of gallery show space. Featured in Western Art Collector in 2012, John Geraghty, late former trustee and special advisor for the Autry’s Masters of the American West, called InSight Gallery “one of the more prominent fine art galleries in the country.” “Texas is an exciting place to be in the art market,” says gallery owner and director, Elizabeth Harris. “Besides the enormous amount of talent coming out of the state of Texas, and being located in a tourist destination of Fredericksburg, the economy of the state is strong, which we find spreads far and wide to bolster sales at galleries all over the country.” In April InSight will host a show called Places I Call Home, which brings together three artists working in three different mediums—acrylic artist Jeremy Browne, oil painter Calvin Liang and pastelist Clive Tyler—who will each paint the landscapes of their homes and regions of interest. Also found at the gallery is artwork by Carolyn Anderson, Phil Bob Borman, Tom

InSight Gallery features a select group of fine painters and sculptors, many who are members of prestigious art organizations and exhibitions.

“[B]eing located in a tourist destination of Fredericksburg, the economy of the state is strong which we ind spreads far and wide to bolster sales at galleries all over the country.”

— Elizabeth Harris, owner and director, InSight Gallery

Browning, Mary Ross Buchholz, Scott Burdick, Jill Carver, John Coleman, Teresa Elliott, John Fawcett, George Hallmark,

JoAnn Peralta, Robert Pummill, Gladys Roldan-de-Moras, Mian Situ and Ann Kraft Walker, among a number of others.

InSight Gallery, Response to a Call, oil, 23 x 40", by Brian Grimm.

InSight Gallery, Precarious Horizon, oil, 24 x 36", by Mark Haworth.

State of the Art: TEXAS

Heritage Auctions, Winter in the Meadow, oil on canvas, 30 x 40", by Dawson Dawson-Watson (1864-1939). Available at the May 12 Texas Art Signature Auction. Estimate: $15/25,000

Heritage Auctions, Joining the Posse, Palo Duro Canyon, oil on canvasboard, 16 x 20", by Fred Darge (1900-1978). Available at the May 12 Texas Art Signature Auction. Estimate: $4/6,000

Heritage Auctions

Dallas, TX, (800) 437-4824, www.ha.com

Heritage Auctions is one of the largest auction houses in America, and has annual sales of more than $815 million. Through 40 categories—from Americana to fine art—Heritage Auction offers a broad range of services for high-net-worth collectors, art lovers, investors and fiduciaries from its offices in New York, Dallas, Beverly Hills, San Francisco, Chicago, Palm Beach, London, Pairs, Geneva, Amsterdam and Hong Kong. This May 12, the auction house will host its next Texas Art Signature Auction live in its Design District Showroom at 1518 Solcum Street in Dallas, with bidding opening mid- April. Routinely the annual Texas art sales achieve world record prices for artists such as Julian Onderdonk, and others. “Right now, we’re strongest with regional and modernist work,” says Atlee Phillips, Heritage’s director of Texas art. “In our May 2018 auction, we are offering great, early Texas art that spent decades outside the country. Spanish and Mexico paintings by José Arpa y Perea, such as Cupulus de Iglesia Entre El Follaje Mexico, 1902, are finding their way back to Texas.” Phillips says she’s encouraged by a younger generation of collectors showing an interest in the market, with many people in their 30s and 40s starting with prints and then moving to larger works. “The market is holding strong. Particularly since 2008, the best artists and the best paintings—the cream of the crop—will always rise to the top and have the best prices. However, the market has stayed steady,” she says. “The highest-level Texas artists are extremely hot right now. Nevertheless, mid-rage, solid Texas artists, artworks by Robert Woods and Fred Darge and contemporary art are attracting demand from a

Heritage Auctions, Breckenridge Park, San Antonio, Texas, oil, 53 x 45", by José Arpa y Perea (1858- 1952). Available at the May 12 Texas Art Signature Auction. Estimate: $60/80,000

lot of younger collectors.” Other works in the sale include Arpa’s Breckenridge Park, San Antonio, Texas (est.

$60/80,000) along with Dawson Dawson- Watson’s Winter in the Meadow (est.


State of the Art: TEXAS

RS Hanna Galleries

244 W. Main Street & 208 S. Llano Street Fredericksburg, TX 78624, (830) 307-3071 www.rshannagallery.com

RS Hanna Galleries welcomes visitors to two Fredericksburg locations: 244 W. Main Street and 208 S. Llano Street. Each gallery has an emphasis on new, fine-quality work of highly collectible, nationally recognized artists from fresh, contemporary works to traditional, representational paintings, sculpture and heirloom-quality furniture. Its Llano Street location promotes and displays national nonprofit art groups and juried shows throughout the year. Among the artists on the gallery roster are Marc R. Hanson, Jeff Legg, Robert A. Johnson, Lori Putnam, Dianne Massey Dunbar, Rosetta, Jennifer McChristian, Denise LaRue Mahlke and John Cook. “The market in Fredericksburg is strong and growing stronger with its recognition as an art destination town, fueled by the phenomenal number of new galleries, wineries and restaurants. As this trend continues to be a tide that raises all boats it’s often compared to a young Santa Fe or Jackson Hole. Texans are finding what they want in their own backyards,” says gallery owner Shannon Hanna. “We have seen trending toward ‘the

“The market in Fredericksburg is strong and growing stronger with its recognition as an art destination town, fueled by the phenomenal number of new galleries, wineries and restaurants.”

— Shannon Hanna, Owner, RS Hanna Gallery

RS Hanna Gallery’s 244 W. Main Street location.

timeless’ in sleek new ways,” she continues, “in exciting colors, unexpected perspectives and immediacy of the artists’ images, which brings your interest in to the paintings; bringing with it a certain sense of refined presence to their strong design elements. This is generally happening across all the genres and mediums.” RS Hanna Gallery is proud to host the second annual Women Artists of the West Spring Showcase with more than 180 pieces by 38 artists from 17 states. This event will be a part of First Friday Art Walk Fredericksburg on April 6, May 4 and June 1. Artists will be on hand during the day and evening hours doing demonstrations and the gallery will host gala receptions on these dates from 6 to 8 p.m.

Top left: RS Hanna Gallery, January Congregation, oil, 24 x 48”, by Marc R. Hanson.

Left: RS Hanna Gallery, Crossing the Divide, oil, 25 x 44”, by Elizabeth Pollie.

State of the Art: TEXAS

This April, Southwest Gallery will showcase the work of Roberto Ugalde.

“We know artists are painting great paintings as always and collectors will seek out those great paintings…so, just let art feed your soul.”

— Melissa Butler, Gallery Manager, Southwest Gallery

Southwest Gallery

4500 Sigma Road, Dallas, TX 75244 (972) 960-8935, www.swgallery.com

Southwest Gallery is celebrating 50 years as one of the leading art sources in Dallas for all styles of artwork. As one of the largest galleries in Texas, representing hundreds of respected and established artists, the gallery offers visitors an unsurpassed selection of paintings and sculptures from antiques to contemporary. Also explore an impressive offering of art glass at Kittrell/Riffkind Glass Gallery housed inside Southwest Gallery. “Just when we think we know the art market, it surprises us,” says gallery manager Melissa Butler. “Ups and downs are the norm, mirroring trends in stock market, oil prices and most everything else! We know artists are painting great paintings as always and collectors will seek out those great paintings…so, just let art feed your soul.’’ April brings the work of Roberto Ugalde to the gallery with his excitingly vivid interpretations of sunlit landscapes inhabited by captivating aspen trees. Ugalde uses energizing color to engage the viewer on multi-levels. Layering textures and color so the eye lingers to explore, literally creating a world of visual delight.

Top right: Southwest Gallery, Autumn Up View, oil on panel, 48 x 24", by Roberto Ugalde.

Right: Southwest Gallery, Aspen Sunshine, oil on panel, 36 x 36", by Roberto Ugalde.

State of the Art: TEXAS

Great American West Gallery

Howard Terpning, Wisdom from an Elder, oil on canvas, 30 x 22"

Great American

West Gallery

332 S. Main Street, Grapevine, TX 76051, (817) 416-2600 www.greatamericanwestgallery.com

The Great American West Gallery specializes in original Western fine art, including paintings

“We are experiencing strong activity from our client base acquiring high-quality pieces for their collections from blue-chip artists. Quality is key and our customer base is willing to pay for the best works from the best artists. Brand- new buyers are also showing up in greater numbers and we spend a good deal of our time advising them as they start to build their collections. We feel very good about the Western art market for 2018 and beyond.”

— Phil Berkebile, Owner, Great American West Gallery

Martin Grelle, Passage at Falling Waters, oil on linen, 52 x 66"

and sculpture from the best living and deceased Western masters. The gallery also features Texas landscape paintings depicting the Texas Hill Country, West Texas and other areas of the Lone Star State. Featured Western artists include Martin Grelle, G. Harvey, Melvin Warren, James

Reynolds, Howard Terpning, Bill Owen, Tom Ryan, Bill Anton, Tom Lovell, Frank Tenney Johnson, Charlie Dye, Sonya Terpening, Robert Scriver, James Fraser, George Phippen, Olaf Wieghorst and more. Texas landscape artists include Porfirio Salinas, William Slaughter and Julian Onderdonk.

State of the Art: TEXAS

Lonesome Dove Gallery

2911 Garnett Avenue, Wichita Falls, TX 76308, (940) 691-3229 www.lonesomedovegallery.com

When it comes to painting, what inspires Robert Dove is “the pure beauty of capturing nature, horses, sunsets, etc.—the subject matter, the color, and taking a white canvas and making something of it.” Dove derives from his comfort with horses and cowboy life. He’s also well-acquainted with team roping and ranch sorting. He says, “The different positions you are in while roping or riding your horse help in portraying the action in my paintings accurately…You are amongst the action. I get to see some of the best cowboys in the country. How they work their horses and the unique character of the cowboy.” Dove’s style resonates—sometimes mysteriously. He’s done work for clients that run the gamut from LeAnn Rimes and ZZ Top to MasterCard, Coca Cola, Ocean Spray and Texas Motor Speedway. Dove recalls specific instances of people making a profound personal connection. “[I] was commissioned to do a painting of Randy White, the Dallas Cowboys football star, as a Western cowboy,” he recalls. “When Randy saw the finished painting he asked if I had a photo of his horse. I replied, ‘No, I just made up a horse.’ Randy

said, ‘That is my horse Sarge.’” Dove’s Wichita Falls, Texas, studio faces his arena and barn, so “it’s handy to use my horses for models for the correct composition.” Along with his work, his Lonesome Dove Gallery displays another talent: custom jewelry and Western-accessory design. Sometimes Dove considers moving to New Mexico, but he’s Wichita Falls born and raised and is content to “see where the good Lord leads me.” It’s not just following


from left:

Lonesome Dove Gallery, Sunset Ridge, oil on canvas, 30 x 40", by Robert Dove.

Lonesome Dove Gallery, Dancing Horses, oil on canvas, 48 x 36", by Robert Dove.

Lonesome Dove Gallery, Willie, oil on canvas, 40 x 30", by Robert Dove.

that lead that keeps him in North Texas; he says, “I’ve got a beautiful little ranch home and gallery right here. Wichita Falls is horse country; some of the ranches are among the biggest in Texas.” Besides that, he says, there’s this essential Western artist’s truth: “A horse looks just as good here as any other place.” June 1 to July 21, Red River Valley Museum in Vernon, Texas, will mount an exhibition of Dove’s artwork.

State of the Art: TEXAS

Chuck & Barbara Mauldin



Barbara and Chuck Mauldin have many things in common. Native Texans, they both love oil painting in general and the Hill Country scenery in particular—not to mention family, friends and each other! But Chuck loves to paint rocks while Barbara loves cactus flowers and the beach. It all works out, as they paint together in their studio and outdoors to produce personal compositions in their own styles. Depicting light remains Chuck’s main focus, achieved by proper choice of values and color temperature. Barbara routinely uses a limited palette to explore the nuances of color. A recent trip to the Guadalupe Mountains National Park provided a wonderful opportunity to paint this spectacular, isolated part of Texas. Plein air works, created in the wind and cold, are inspiring larger studio paintings. Their most recent work depicting all things Texas will be featured in their Texascapes show in May at Fredericksburg Art Gallery. Chuck will sneak in a pencil drawing or two, just to add another wrinkle to the show and remind viewers of his long-held love of that classical medium as well.

Chuck Mauldin, Jane Doe, oil, 9 x 12"

Barbara Mauldin, Lunch Break, oil, 20 x 16"

Chuck Mauldin, Morning Moos, oil, 20 x 24"

State of the Art: TEXAS

Sherry Harrington, Slow Steps on Native Land, oil, 24 x 30"

Sherry Harrington

(254) 722-8387, sherry@sherryharrington.com www.sherryharrington.com

Sherry Harrington, a fifth-generation Texan who grew up in Fort Worth, has only made one big move in her lifetime. Harrington and her husband moved just outside of Waco to raise their two sons in the country. Being just a 30-minute drive to Clifton—home of several well-known Western artists—she has found plenty of artist and patron support. Harrington says traveling to the Western states and reservations has continued to be important for inspiration for her new work. She says, “It has been extremely exciting and humbling recording some of the Plains Native Americans and the traditionally dressed Navajo people. Lifelong friendships have been made along the way.” During her travels, she also has been able to paint the traditional horse and rider, both cowboy and Native American. She will participate in the Briscoe Western Art Museum’s 2018 Night of Artists, and will have her painting Slow Steps on Native Land on display. As a member of the American Women Artists, she will be participating in their upcoming exhibitions, and her work is represented by Big Horn Galleries of Cody, Wyoming, and Tubac, Arizona.

Sherry Harrington, Holding On, oil on panel, 20 x 24"

State of the Art: TEXAS

Chuck Middlekau

Austin, TX, (512) 447-3567 www.chuckmiddlekauf.com

Austin-based artist Chuck Middlekauff paints his own vivid, colorful view of American culture, embellished by nostalgia, twists, puns and some laughs. It’s a combination of inspirations from real cowboys and matinee and TV cowboy

heroes, cartoons, toys, music and road trips he took with his family as he grew up through the 1950s and ’60s, and of contemporary imagery he soaks in as he travels with his wife, Carol. As he goes, encountering American roadside culture, his observations of cowboys reveal that they don’t just ride horses and chase cows; they also play with yo-yos, drink

Clockwise from above:

Chuck Middlekauff, Kick Start, watercolor and acrylic on paper mounted on canvas, 14 x 20"

Chuck Middlekauff, Rope Trick, watercolor and paper mounted on canvas, 12 x 16"

Chuck Middlekauff, Power Nap, acrylic on canvas, 20 x 16"

Cokes, eat M&M’s, and just hang out. So, with or without a cowboy, a painting might include a gas pump, Coke machine, sign, mural, pickup truck, boots or other weathered, rusted, textured and disappearing American icons. “Everybody sees America differently,” he says. “Each scenario I paint, whether real or invented in my mind, is the way I see it.”

State of the Art: TEXAS

Main Gallery of the Museum of Western Art. Courtesy Kerrville Photo.

Oscar E. Berninghaus (1874-1952), Sagebrush in Bloom, oil, 24 x 28”. Courtesy Kerrville Photo.

The Museum of Western Art

1550 Bandera Highway, Kerrville, TX 78028 (830) 896-2553, sturnham@mowatx.com www.museumofwesternart.com

This year marks the 35 th anniversary of the Museum of Western Art’s opening on April 23, 1983. It originated as the Cowboy Artists of America museum with a focus on Western art from the mid-20 th century to the present day. The museum now features 150 sculptures and 250 paintings in its permanent collection, including works from members of the Cowboy Artists of America, among them Roy Andersen, Wayne Baize, Joe Beeler, Bruce Greene, George Phippen and Oreland Joe. Opened last year is the L.D. “Brink” Brinkman Central Courtyard Gallery that expands the total square footage of exhibit space to 17,000 square feet. The museum sits high on a hill overlooking the city of Kerrville and features the distinct architectural elements of its designer, famed Texas architect O’Neil Ford. Kerrville is in the heart of the Texas Hill Country, a short 60-mile ride northwest of San

The L.D. “Brink” Brinkman Central Courtyard Gallery. Courtesy Kerrville Photo.

“To mark the museum’s 35 th year, we have an exceptional lineup of artists, special exhibitions and workshops scheduled that complement our mission to preserve our western heritage through art and education. Our major fundraiser will be September 15 as we launch our 35 th Annual Western Art Show and Sale. We invite you all to visit us here in Kerrville, the cultural hub of the beautiful Texas Hill Country.”

Antonio and 100 miles west of Austin. The Museum has numerous special exhibits coming up, including Imprinting the West: Manifest Destiny, Real and Imagined, a timeless collection of 48 hand-colored engravings and lithographs by artists such as Frederick Remington, Charles Bird King and George Catlin, from April 7 through May 26. From June 9 to July 28, the museum will see the Quilts of the Lakota, a collection of Lakota quilts that recount the story of this

— Stephanie Turnham, Executive Director

unique Native art form, on loan from the Heritage Center at Red Cloud Indian School in Pine Ridge, North Dakota. On September 15 the museum will hold its Annual Western Art Show and Sale. As the museum’s major fundraiser of the year, it will kick off with a gala evening including an artist’s reception, silent auction and lavish cocktail buffet. The works of more than 30 renowned Western artists will be featured, and will be on display through October 28.

State of the Art: TEXAS

National Ranching Heritage Center in Lubbock.

National Ranching

Heritage Center

3121 Fourth Street, Lubbock, TX 79409 (806) 742-0498, ranchhc@ttu.edu www.nrhc.ttu.edu

Western art and gear collectors will have an opportunity not only to purchase new art pieces, but also to meet the artists June 2 at the Fifth Annual Summer Stampede Art and Gear Show from 6 to 11 p.m. at the National Ranching Heritage Center in Lubbock, Texas. More than 30 artists and craftsmen will exhibit original art and gear at the annual event, which includes both a dinner and

a Western swing dance. A portion of the

proceeds will benefit the educational and restoration programs of the NRHC, which

is a unique 27-acre museum and historical

park established to preserve and interpret the history of ranching. Supported by Texas Tech University and the Ranching Heritage Association, the center features a 44,000-square-foot museum with seven galleries and a 19-acre historical park with 50 authentic dwellings and ranch structures from some of the nation’s most historic ranches. Although the NRHC only sells art once

a year in June, Western art is on exhibit

in the museum galleries throughout the year. “Western art and museum artifacts complement each other,” says Scott White, Director of Collections, Exhibits and Research. “Our galleries depict the ranching life. You can see the art and then walk into the historic park and see authentic ranch structures like those in

Summer Stampede in 2017.

the paintings.” White said the Summer Stampede Art and Gear sale “is unique for this part of the country.” The NRHC takes a lower commission than most galleries and doesn’t require a bidding process. Buyers can meet the artist, pay the posted price and take the artwork home that day. “We’ve been able to do something that most shows can’t do, and that’s please the artists,” White said. “From the very first show

five years ago, every artist has asked to come back every year.” Even though Summer Stampede is relatively new among Western art shows, White said sales have been equivalent to other long-established shows and “we were able to prove ourselves immediately right out of the blocks.” Artist participation is by invitation only. Those tentatively scheduled to exhibit their

work on June 2 include Russell Yates, Baru Forell, Edgar Sotelo, Peter Robbins, David Griffin, Tyler Crow, Bob Moline, Doug Clark, Wilson Capron, Mike Capron, Mary Baxter, Billy Klapper, Brian Asher, Wayne Baize, Mary Ross Buchholz, Jason Scull, Garland Weeks, Michael Tittor, Stewart Williamson, Herman Walker, Toni Arnett, Jayson Jones, JaNeil Anderson, Kim Mackey, Jan Mapes, Emily McCartney, Billy Albin, Beau Compton, Buddy Knight, Dustin Payne, Tanner Crow, Rex Crawford and Matt Humphreys. Limited tickets are available for Summer Stampede and can be purchased online at www.ranchingheritage.org or by calling Vicki Quinn-Williams at (806) 834-0469. The cost is $75 for Ranching Heritage Association members, $100 for non-members, $1,250 for a reserved table for eight under the tent or $1,000 for a reserved table in on the open patio.

State of the Art: TEXAS

Museum of the Big Bend

400 N. Harrison Street, Alpine, TX 79832 www.museumofthebigbend.com

The Museum of the Big Bend hosts four exhibits annually in its gallery. Beginning in mid-January, the late-winter exhibit reflects how the Texas landscape influences who and what decides to call Texas home. In April the museum celebrates their Western and cowboy culture and tradition through works shown in Trappings of Texas. Trappings of Texas began in 1985 and is the longest continually running exhibit and sale in the country, showcasing together contemporary cowboy gear and fine Western art. In June, the gallery is devoted to the art of photography. September the gallery showcases art exhibits with shows ranging from historic maps, to works by Charles M. Russell to contemporary artists. The Museum of the Big Bend will be hosting the 32 nd Trappings of Texas with an opening weekend of events April 12 through 14. Weekend events include a preview and after-preview party, lunch with the artists, grand opening reception, exhibit and sale and the fourth annual Ranch Round-Up Party. The exhibit opens to the public on Saturday, April 14 along with talks and demonstrations. Chessney Sevier of Buffalo, Wyoming, is the 2018 Trappings of Texas Premier Artist. New artists to Trappings of Texas include Janet Broussard, Nathan Solano and Thor Peterson, along with Navajo weavers represented by Mark Winters of Toadlena Trading Post. The Museum of the Big Bend is excited to present the 32 nd Annual Trappings of Texas, followed by two outstanding exhibits:

FotoTexas, People, Places & Culture curated by photographer Laura Wilson for the Texas Photographic Society, and Big Bend Paintings by California landscape artist Erin Hanson of San Diego, California.

Western works on display at the Museum of the Big Bend.

All three exhibits will feature special presentations and demonstrations by the exhibiting artists.

Robbie Fitzpatrick

Tulsa, OK, robbie@robbie tzpatrick.com www.robbie tzpatrick.com

Robbie Fitzpatrick works in watercolor. “It can be challenging, but it can do so much, and

I suppose I love the problem solving,” says the

artist. Fitzpatrick also paints realistically, using value, with the play of light and shadow and strong composition to tell the story.

The artist’s favorite subjects are animals, both wildlife and domestic. “I believe I’m partial to them because if I can get their eyes right, most of the story is told, and I include the rest of the narrative in the remaining detail,” says Fitzpatrick. That may mean the setting, or at least the stance and expression of the animal. “I’ve started work on some figurative and portrait work, and the same aspects attract me—the story in the eyes. I suppose what I enjoy most is capturing moments in the lives around me. “Every piece seems to challenge me with

a new puzzle to be conquered,” Fitzpatrick

Museum of the Big Bend, Full Flower Carved Saddle, by Marc Brogger.

continues, “from painting eyes, to fur, to feather, grass, dirt, rocks, water, waves, skies, clouds, stormy clouds, sunlight, rain or mist. I believe I could study watercolor for an entire lifetime and never know it all. What a challenge!” So far, highlights of a career that started later in life (the artist spent most of life

teaching writing) include increasing success in competitions, membership in many art organizations, such as Women Artists of the West, International Guild of Realism, Society of Animal Artists. Fitzpatrick is also an Art Renewal Center Living Artist. Currently, Fitzpatrick has a piece in the Society of Animal Artists’ 2017-18 Art and the Animal Tour at the Arizona-Sonora Desert Museum in Tucson, Arizona, from April 14 through June 3; then, the artist will show at the George A. Spiva Center for the Arts in Joplin, Missouri, June 30 through August 26. The artist will also have a piece in the 43 rd annual Western Federation of Watercolor Societies Exhibition at the Southern Arizona Guild Gallery in Tucson, Arizona, from May 1 through June 24. Fitzpatrick is represented by Lovetts Fine Art Gallery in Tulsa, Oklahoma.

Left: Robbie Fitzpatrick, Stealth, watercolor on paper, 19 x 10" Right: Robbie Fitzpatrick, Gentle Persuasion, watercolor on paper, 20 x 24"

State of the Art: TEXAS

Douglas Clark

Fort Worth, TX doug@douglasbclark.com www.douglasbclark.com

Fort Worth sculptor Douglas B. Clark continues to find his inspiration in the wildlife of Texas and the Western United States. His bronze sculptures portray the details of the anatomy as well as capture the personality of the individual animal. His goal as an artist is to share his admiration and respect for these iconic animals with the viewer. His sculptures allow the collector to bring a bit of the American West into the home or office. Clark’s works can be seen on his website and at galleries across the Southwest including Insight Gallery, David Dike Fine Art, and Acosta Strong Galleries. He will be demonstrating his work at Insight Gallery’s annual Texas Masters show this spring. In June he will again be participating in the Summer Stampede at the National Ranching Heritage Center at Texas Tech University.

Bosque Arts Center

215 S. College Hill Drive, Clifton, TX 76634 www.bosqueartscenter.org

The Bosque Arts Center is now accepting entries for its 33 rd annual Bosque Art Classic. The national art show and sale, sponsored by the BAC Art Council, awards over $15,000 to outstanding realistic and representational art in the categories of drawing, oil/acrylic, pastel, sculpture and water media. The entry deadline for the show is May 29. Jason Rich, a member of the Cowboy Artists of America since 2011, will serve as judge for the 2018 event. The show will be on display September 8 through 22.

Douglas Clark, Western Singer, bronze on granite, ed. of 30, 7 x 6 x 6"

Douglas Clark, Leading the Way-Old Blue, bronze on granite, ed. of 50, 12 x 6 x 8"