Adickes...Early: Fifty Paintings from the Formative Period by Foltz Fine Art

Adickes...Early Fifty Paintings from the Formative Period

October 9 - 24, 2009 William Reaves Fine Art • 2313 Brun Street • Houston, Texas • 77019 • (713) 521-7500

Traveling with David Adickes:

the zestful journey of a texas artiste’

iven our gallery’s affinity for vintage Texas art, we naturally pursued the idea of mounting an exhibition of early paintings by David Adickes. After six decades of work in Houston the bon vivant Adickes is among the city’s most recognizable art personalities, and his works from the fifties through the middle sixties are especially distinctive, certainly ranking among the most important of his extensive career! Thus, we were delighted when the artist graciously consented to a show of this nature.

As we approached his home town and drove past his now famous statue of Big Sam, Adickes related how his great-grandfather, a contemporary of Sam Houston and city Postmaster in the midnineteenth century, had owned the property where the Steamboat House (which served as the general’s last home) was originally constructed and had donated cemetery grounds adjacent to where the Texas patriarch was buried. Driving further, the artist transformed to a tour guide, pointing out community landmarks and assets with obvious pride and affection, his What remained, however, tour narrative underscored was the challenge of by humorous stories selecting particular works and fond recollections to be exhibited, and the of a spry and nurturing task of convincing David, childhood in Huntsville. (I who cherishes his paintings couldn’t help but think that from this period as much as the Huntsville Chamber we do, to relinquish prime of Commerce would be examples for sale. This, as proud.) We drove past it turned out, would require the home of his paternal an excursion - a road trip to grandparents, only a Huntsville, Texas to view stone’s throw away from David’s works in storage his own childhood home there! For the trip, we and not far from the store agreed to rendezvous in The on the town square where Woodlands and drive over his father had operated an together. Our journey to electrical appliance store. Huntsville was a pleasant and In time, we arrived at the lively one, providing quality city’s old high school, a time for an uninterrupted WPA-era facility which conversation about a rich the artist now owns and and well-lived life in art. The presently employs as a result was a trip back through studio (with long range Fig. 6 Blooming Trees with Chairs the storied career of a truly hopes of converting it to use unique Texas artist, providing the perfect backdrop as an art museum). David unlocked the giant steel for this exhibition of his earliest and finest work. doors at the back of the old school; we ascended It was a sojourn well worth the taking, ultimately the stairs leading to an old gymnasium and began leading to a treasure trove of early Adickes art! to sort through art work assembled there. His stories continued as we worked, made more rich David Adickes was born in Huntsville, Texas and vivid by the colorful and intriguing paintings in 1927, and grew up there ensconced in the solid, on view. conservative values of a small East Texas town. 1

Adickes explained how, upon graduation from Huntsville High School (the same one he now owns) in 1943, he enrolled at Texas A&M College to pursue a degree in engineering and to play clarinet in The Marching Aggie Band! He stayed at A&M for only one year, followed by an ROTC assignment at LSU in 1944. The move to LSU offered an opportunity that Adickes felt would position him to achieve his war-time ambition of becoming a bomber pilot. After failing to achieve appointment as a naval pilot due to weight requirements, the young Adickes subsequently enlisted in the U.S. Army Air Corps with hopes of beginning pilot training there. His plans were altered once again, however, as his basic training concluded on the eve of VJ Day, signaling the war’s end and scale back of U.S. military operations. With the war won, bomber training was placed on moratorium and Adickes’ pilot plans were scrapped. Instead, he spent his Air Corps career as a military clerk mustering out servicemen and documenting citations for medals and awards.

degree as quickly as possible. Transferring all credits from A&M and LSU to his home town Sam Houston State Teachers College, Adickes completed a degree in physics, graduating in May of 1948. While engaged in studies at Sam Houston, Adickes dabbled with his interests in painting which had emerged from his art encounters in Paris. A natural draftsman, he served as the arts editor for the

Adickes’ administrative duties did require frequent European shuttles back and forth across the Atlantic, affording him his first exposure to Paris and to France. As it turned out, first exposure was all that David Adickes needed to create a life-long love affair with The City of Light, as well as to ignite a latent, yet serious, interest in the arts (especially painting). Adickes recalls, “Anyone who had even a casual interest in the arts could not have helped but to have been inspired by Paris. Art was everywhere in the city, and I first began to take serious interest while I was traveling there in the Air Corps.” Besides cultivating his earliest interest in the arts, these forays also seeded wanderlust in the young Adickes sufficient to fuel adventuresome journeys to distant locations for many years to come!

university’s annual. He maintained a similar role for the college literary journal, Horizon. As a summer elective he studied in Puebla, Mexico, where he received introduction to the art of Diego Rivera and the Mexican muralists. Upon his return to campus, Adickes enrolled in a studio art class taught by May Schow, Sam Houston’s pioneering art instructor. His initial work showed promise and he received favorable critiques on his assignments. By the time that he completed his degree, David Adickes began to realize that art was becoming a paramount interest.

Fig. 16 This is the Way the World Ends

In the summer after his college graduation, Adickes went to Kansas City to live with his brother and enrolled in the Art Institute there. He recalls that he liked the “art school scene” there a great deal, finding stimulation among an entire campus in singular pursuit of art. Adickes’ experiences in Kansas City seemed to have galvanized his emergent interest in painting and for the first time he began to seriously consider becoming a professional

When his tour of duty was complete in 1947, David Adickes returned to Huntsville determined to pursue his fortunes through a new course of action. At the insistence of his father and older brother, he devised a plan to complete his undergraduate 2

artist. With this new-found resolve, Adickes stayed only the summer semester at Kansas City, deciding instead to return to Paris, the place of his initial inspiration. Cashing in on the new GI Bill, David Adickes enrolled in 1948 at Atelier Léger to study under the French Master Fernand Léger, becoming the third American to achieve acceptance into the school. He spent the next two years in Paris, immersing himself in the Parisian social scene and developing a distinctive style and approach to painting that would set the stage for his future success. While studying at Atelier Léger, Adickes developed a friendship with fellow American artist Herbert Mears, a New Yorker who had arrived at Léger’s school shortly before Adickes. The two developed a life-long friendship and Adickes is quick to credit Mears as one of the profound influences in his artistic development, especially instrumental in his formulation of the elongated figurative subjects that would later populate his canvases and become affectionately known as the “Adickes Men.” Adickes stayed at the school in Paris for two years - the full measure of his GI Bill benefits, reluctantly returning state-side as funds depleted.

Gershinowitz. In addition, Adickes was visited at the show by Ben DuBose, one of Houston’s important art impresarios, who extended an invitation for the artist to join his stable of artists at his Bute gallery space.

Fig. 27 Risque Tout

In the same month, Adickes entered works in his first juried exhibition - The 26th Annual Exhibition of Works by Houston Artists at the Museum of Fine Arts Houston. Ann Holmes, the arts critic for the Houston Chronicle, provided Adickes his first newspaper review, citing his submissions as “notably authoritative for so young an artist,” and adding “small wonder this artist has stirred up the commotion he has in Houston since his recent arrival.” Still Life with Coffee Urn was initially awarded a “First Prize” by contest judge William Lester of the University of Texas at Austin. Later, however, it was determined that Adickes’ residency in the city was still too new to qualify for the award, and the prize was otherwise presented. As consolation, Adickes was extended a one-man exhibition at The Museum of Fine Arts in Houston, his first museum show. This small Corridor Show of fifteen works opened in December of 1951. Similar to the Art League Fair, the works on exhibition were well received in the city and served to establish his reputation as a local young artist “on the move.” The mixed media/collage entitled This is the Way the World Ends (Fig. 16) was among the works shown in the 1951 exhibition, and is a wonderful example of the artist’s initial figurative subjects, displaying his early inclination to juxtapose words or phrases within his visual compositions.

Adickes was back in Huntsville by Christmas of 1950 and moved to Houston in the spring of 1951. Along with his friend Herb Mears, whom Adickes convinced to join him in Houston, he opened an art school in the city in the South Main area - The Studio School of Contemporary Art. Unfortunately, the art school never really “took off” and soon closed. Adickes’ art work, however, quickly received popular acceptance and acclaim within the Houston art community. Adickes’ work was first seen in Houston in April of 1951 when he displayed a group of his works (along with those of Herb Mears, who was on his way, but not yet in the city) at the Houston Art League Fair at the Shamrock Hilton. The little show resulted in great success, practically registering a “sell-out.” His works were procured by some of Houston’s most important and well connected collectors. Among those first collectors were E. M. “Buck” Schiwetz, local art patrons Nina Cullinan and John DeMenil, and Houston oilman Harold 3

Adickes followed his MFAH show with a succession of juried exhibits and museum purchase prizes, quickly establishing him as one of the emergent stars on the Texas art scene. At the 1951-52 Texas General, Adickes received the Fort Worth Art Association Prize. In the same year he was awarded top purchase prize at the Third Annual Exhibition of the Texas Watercolor Society in San Antonio. In February of 1953, at the 28th Houston Annual, his casein entitled Beach Scene (Fig. 29) received the Contemporary Arts Association purchase award. Also in 1953, Adickes received the San Antonio Art League’s Julian Onderdonk Memorial Purchase Prize for his oil painting entitled 7 of the Species, and his casein entitled View of the Village was awarded second prize in the Fourth Annual Exhibition of the Texas Watercolor Society. At the close of that year, his large casein, Three Men on a Beach (Fig. 11), won top prize at the Texas Fine Arts Association, and was purchased into the collection of the Laguna Gloria Gallery in Austin. In addition to the professional recognition Adickes received through these juried exhibitions, the young artist opened to a large crowd at his first one-man show for the Bute Gallery in March of 1953.

thoroughly tickled with their newest acquisitions, the venture proved successful for the young artist, and his creative funding formula, which captured the imagination of the local art scene, became the substance of local art lore. Back home in Houston, Adickes wasted no time in reestablishing his busy exhibition schedule, and his work continued to garner critical acclaim. At

In the midst of this successful run, however, David Adickes yielded to his lust for travel, determining to return to France and Spain to travel and paint there. To finance his tour, Adickes, along with his gallerist, Ben DuBose, concocted the novel idea of raising travel funds through the advance sale of “shares” in thirty future paintings, which were to be produced by Adickes during his stay in Europe and shown at Bute’s gallery upon the artist’s return. The venture raised some $1500 from ten Houston collectors. Adickes’ eighteen month stay in Europe was funded almost entirely from the proceeds of these share-holders. He returned in October of 1954, with DuBose mounting the promised exhibition which included approximately fifty-six paintings. Adickes “shareholders” were granted first choice of the artful bounty, the order in which they chose their paintings being drawn from a hat! With his investors made whole and

Fig. 11 Three Men on a Beach

the 30 Houston Annual in 1955 he was awarded The Museum of Fine Arts, Houston’s purchase prize for his work entitled Spanish Interior. The following year, at the 31st Annual Exhibition of Houston Artists in 1956, he received the D.D. Feldman purchase award. In this same year, the Junior League of Houston gave him a one-man show, he was included in the MFAH’s Gulf and Caribbean exhibition, and his painting entitled Harlequin with Banjo received first prize at the Texas Fine Arts Association in Austin. th

Adickes joined the faculty of the art department at the University of Texas at Austin in 1955. During the summer of 1956, between academic terms at 4

the university, Adickes struck out on tour again, setting sail for Tahiti in search of Paul Gauguin. He stayed in the South Pacific for eight weeks, painting, sketching, and meeting with Gauguin’s only living son, Emil a Tai, in Papeete. Adickes returned to UT for the 1956-57 academic year, receiving one-man shows at the Witte Museum in San Antonio and the Dallas Society of Contemporary Art.

extensively throughout Europe, eventually making his way back to his home in Houston, more-or-less for good, in 1964. During those traveling years, when he was away more often than he was present in Houston, Adickes continued to paint and exhibit, regularly sending canvases back for sale through Ben DuBose. The local gallerist perfected the “uncrating party” as much-anticipated, invitational gatherings where Adickes’ latest arrivals were unveiled to his ever-eager patrons in Houston. In addition to showing at Ben DuBose’s new gallery, Adickes also exhibited his paintings at various times in the early sixties in New York, California (Pasadena) and Florida (Palm Beach), as well as Dallas, San Antonio and Fort Worth.

At the conclusion of his second year at the university, Adickes once again succumbed to his passion for travel, this time embarking on a “round the world” tour. He went first to Japan for a year, living in Tokyo and Kyoto. He continued to actively sketch and paint and received one man shows in both Tokyo and Osaka. Seated Lady as Harlequin (Fig. 3), proudly hanging in this exhibition, was the cover piece for the catalogue of Adickes’ Tokyo show in 1958. It was also in Tokyo that Adickes first met James A, Michener, the legendary American writer. Michener and Adickes developed a close, personal friendship through their Japanese encounter, visiting often until the writer’s passing later years in Austin. Michener later acquired several of Adickes’ works for his personal collection (which now comprises the corpus of The Blanton Museum of Art’s collection of twentieth-century American art), and in 1968 the Pulitzer Prize winning author published a critique of Adickes’ work. For his part, the artist twice painted portraits of Michener, first in 1962 and again in 1964. His 1962 portrait depicted Michener against a silver-blue field inscribed with the opening paragraph of the author’s award winning novel Hawaii, and remained among the writer’s favorite likenesses. Both portraits remain in the collection of the Blanton.

Throughout the telling of this marvelous story, David and I plundered through a cache of vintage Fig. 28 Three Wise Men paintings that embellished the adventures and episodes related by the artist! The works connect to each chapter of his colorful career, visually marking his epic journeys and collectively showing his youthful genius, as well as tracking the stylistic evolution of this creative Texas artist. Shown here are his earliest renditions which excited a fresh new perspective among local patrons. Important among these are This is the Way the World Ends (Fig. 16) painted in 1951 and the 1953 casein Beach Scene (Fig. 29), which won the purchase prize of the Contemporary Arts Association. The delightful Clarinet (Fig. 17) painted in 1953 is also indicative of his fine work From Japan, Adickes toured the far and middle with the casein medium, as is the 1953 work entitled East, with stays in India and Greece. By 1959, he Three Men on a Beach (Fig. 11). Also noteworthy was back in France and there acquired a small studio among the early works here is Adickes’ rendition in Antibes. Based in Antibes, he continued to travel of Three Wise Men (Fig. 28) completed in 1954 and 5

a small sumi-ink drawing entitled Figures and Boat (Fig. 18). Alessandra Cantey published her book on Adickes in 1962. Two of the early works featured in that publication are shown here, including the magnificent Napoleon in a Storm (Fig. 26), which Adickes later showed at the DuBose Gallery, as well as the UT Faculty show in 1963, and Eagle (Fig. 20). The Cantey book was followed by James A. Michener’s published monograph in 1968. Three significant works published in the Michener monograph can be found in this show, including Two Men (Fig. 9), a wonderful example (among several) of “Adickes Men” standing, as the artist states, “in isolated forms from which all irrelevancies have been eliminated.” L’Atelier (Fig. 4) and Harlequin

Fig. 14 Blue Still Life

used by his friend Ben DuBose as Bute’s Christmas window greeting for several years.

Three works included here are among those illustrated in the monograph compiled by Ben DuBose (with an essay by Campbell Geeslin) for Adickes’ 1957 exhibition at Bute’s, while the artist was still on the faculty at the University of Texas. Blue Still Life (Fig. 14) painted in 1956 is an early and fine example of the artist’s lifelong fascination with still life subject matter, demonstrating his skillful manipulation of rich color applied to ever changing compositions of bottles, fruit and objects of virtue. Dressing Stand (Fig. 12) and My Wall in Tahiti (Fig. 19) are works derived Fig. 26 Napoleon in a Storm from Adickes’ time in Tahiti, Family (Fig. 8) were also published in Michener’s both of which were included monograph and are exhibited in the current show. in the 1957 exhibition at Bute’s and published in Beyond these previously published works, DuBose’s monograph. this exhibition is replete with wonderful examples This show features several representing the artist’s full oeuvre during his works from Adickes’ Japanese formative years. For example, the two paintings featuring blooming trees with chairs and bicycles visit in 1958, including the (Fig. 6 and 7) are colorful, early versions of a beautiful Seated Lady as favorite subject matter that the artist has revisited Harlequin (Fig. 3), which often over the years. Likewise Lake Como (Fig. served as the cover piece 24) and Antibes in Blue (Fig. 30) are representative for the artist’s exhibition in Tokyo. Also included from his of his cubist influenced scenes of beloved French seaports. Risque Tout (Fig. 27) and Three Figures Tokyo show are Kyoto Vase and a Boat (Fig. 2), formerly in the collection of with Branches (Fig. 21) and

Fig. 17 The Clarinet

Huntsville and back. They are fanciful works from an artistically dynamic period in Houston’s (and Texas’) past, and they have captivated collectors through their novelty and freshness. Paintings old, yet new again; retrieved, re-shown and reflecting the zestful journey of an incomparable Texas artiste. What a trip! William Reaves

Fig. 5 The White Chest

Elvis Presley, aptly illustrate the artist’s whimsical series of man and boat down to the sea. Several interesting still lifes such as The White Chest (Fig. 5) are offered, often with the elongated bottles which are signature for the artist, as well as floral subject matter, which is well presented in Gray Still Life with Daisies (Fig. 10) and Sun Flowers (Fig. 31). Everywhere, however, are those fascinating Adickes figures. From Spain come bullfighters, mingling in this exhibition with poets, actors, writers and musicians. All examples of “Adickes Men,” they have evolved from the creative mind of this novel artist into a well-known and accepted species living on innumerable walls in Houston and elsewhere in the world. David Adickes is a Texas artist who chose the world as his studio. In Michener: The James A. Michener Collection, Annegreth Nill writes: “The art of Texas-born David Adickes derives from the School of Paris. His work reflects the aesthetic concerns of Parisian modernism, and he employs cubist space and imagery inspired by Picasso’s still-lifes, musicians and harlequins. His statement, however, is uniquely his own… Although exposed to many disparate cultures, he searched for visual essences, the common denominator of all cultures.” These paintings depict the visual essences of David Adickes and constitute the treasure trove of early works that we viewed on our drive to

Fig. 31 Sun Flowers

Artist Bio: David Adickes Selected Biographical and Career Highlights 1927, Born in Huntsville, Texas – currently lives in Houston 1948, Sam Houston State College, Huntsville, Degree in Physics 1948-50, Lived in Paris, studied painting at the Atelier Fernand Léger 1951-53, Moved to Houston, had five one-man shows and exhibited in group exhibitions 1953, Returned to Europe for 18 months 1954-55, Two one-man shows in Houston, moved to Austin to teach at University of Texas 1956, Traveled to Tahiti for the summer 1957-58, Around the world-tour, one year in Japan and had one-man shows in Tokyo and Osaka

Selected Exhibitions 1951, The Museum of Fine Arts, Houston 1953, 54, 56, 57, 59, 60, 61, 62, James Bute Gallery, Houston 1957, Witte Museum of Art, San Antonio 1957, Laguna Gloria Gallery, Austin 1958, Formes Gallery, Tokyo and Osaka 1959, Janet Nessler Gallery, New York 1961, 62, Haydon Calhoun Gallery, Dallas 1961, Galerie de la Vieille Échoppe, St. Paul-de-Vence 1962, Fifth Ave. Gallery, Fort Worth 1962, Stewart-Ricard Gallery, San Antonio

Selected Major Collections The Museum of Fine Arts, Houston Dallas Museum of Fine Arts Pennsylvania Academy of Fine Arts, Philadelphia Fort Worth Art Museum Witte Museum of Art, San Antonio Longview Art Association James A. Michener Art Foundation The Blanton Museum of Art, The University of Texas at Austin

Exhibition Checklist Title The Spaniard (Fig. 1) Three Figures and a Boat (Fig. 2) Seated Lady as Harlequin (Fig. 3) Lâ&#x20AC;&#x2122;Atelier (Fig. 4) The White Chest (Fig. 5) Blooming Trees with Chairs (Fig. 6) Blooming Trees with Bicycles (Fig. 7) Harlequin Family (Fig. 8) Two Men (Fig. 9) Gray Still Life with Daisies (Fig. 10) Three Men on a Beach (Fig. 11) Dressing Stand (Fig. 12) Three Figures on Red (Fig. 13) Blue Still Life (Fig. 14) White Fence - Tahiti (Fig. 15) This is the Way the World Ends (Fig. 16) The Clarinet (Fig. 17) Figures and Boat (Fig. 18) My Wall in Tahiti (Fig. 19) Eagle (Fig. 20) Kyoto Vase with Branches (Fig. 21) Two Figures with Dove (Fig. 22) Night Riders (Fig. 23) Lake Como (Fig. 24) Church at Cannes (Fig. 25) Napoleon in a Storm (Fig. 26) Risque Tout (Fig. 27) Three Wise Men (Bute) (Fig. 28) Beach Scene (Fig. 29) Antibes in Blue (Fig. 30) Sun Flowers (Fig. 31) Button Down Owl (Fig. 32) Starry Night in Venice (Fig. 33) From My Window in Tahiti (Fig. 34) Road at Night (Fig. 35) Man on Yellow Background, 10/20 (Fig. 36)

Date 1956 1969 1958 1966 1961 1960 1960 1965 1965 1961 1953 1957 c. 1965 1956 c. 1965 1951 1953 1958 1956 1960 1958 1965 1959 1963 1965 1959 1954 1954 1953 c. 1960 1965 c. 1965 1959 1956 1967 c. 1960 9

Medium oil/board oil/canvas oil/canvas oil/board oil/board oil/canvas oil/canvas oil/canvas oil/canvas oil/canvas casein oil/board oil/paper/board oil/canvas oil/board gouache casein/wood sumi ink pen/ink oil/board mixed media oil/paper oil/canvas oil/board oil/canvas oil/board oil/board oil/canvas casein/paper oil/canvas oil/canvas plaster oil/canvas pen/ink oil/canvas etching

Size 24 x 18 30 x 40 49 x 36 49 x 96 30 x 40 36 x 24 36 x 24 48 x 38 48 x 38 28 x 16 48 x 48 12 x 5 28 x 21 20 x 24 8 x 10 18 1/2 x 22 1/2 13 1/2 x 6 12 x 10 10 1/2 x 5 26 x 21 15 x 18 14 x 10 24 x 45 21 x 29 42 x 30 48 x 59 24 x 30 60 x 54 24 x 29 40 x 30 35 x 20 14 x 18 18 x 10 10 x 8 1/2 12 x 16 9x7

Title Moulin at Montmartre (Fig. 37) Seated Bullfighter with Flowers (Fig. 38) Blue Still Life with Bottles (Fig. 39) Artist with Portrait (Fig. 40) Clarinetist in Moonlight (Fig. 41) Bottle with Many Fruit (Fig. 42) Fish (Fig. 43) Lady in Orange (Fig. 44) Artist at Easel (Fig. 45) Hippie I (Fig. 46) Hippie II (Fig. 47) Still Life with Lemon (Fig. 48) Flutist with Bach (Fig. 49) Duet (Fig. 50) Still Life - Tahiti (Fig. 51) White Bottle (Fig. 52) Still Life with Grapes and Pear (Fig. 53) Still Life in Orange and Green (Fig. 54) Red Bottle and Turquoise Grapes (Fig. 55) The Writer (Fig. 56) Horseman and Full Moon (Fig. 57) Two Actors (Fig. 58) Still Life with Pitcher (Fig. 59) Kyoto Still Life (Fig. 60) Oriental Landscape (Fig. 61) Blue Moon over Venice (Fig. 62) Blue Willows (Fig. 63) Still Life in Dark Brown (Fig. 64) Poet on Blue Field (Fig. 65) Young Bullfighter Seated (Fig. 66) Road Sign (Fig. 67) Alma, Alma (Fig. 68) Still Life for Ann Holmes (Fig. 69) Poet in Red Beret (Fig. 70) Roman Theme (Fig. 71) Chicken (Fig. 72) Two Brothers (Fig. 73) Untitled Still Life Fruit (Fig. 74)

Date c. 1960 1965 1961 1965 c. 1959 1966 1959 1965 c. 1960 c. 1967 c. 1967 c. 1961 c. 1964 c. 1964 1956 1955 c. 1960 c. 1967 1958 1969 1959 c. 1965 c. 1960 1958 1959 1959 1965 1961 1960 1960 1953 1953 1957 c. 1965 1965 c. 1965 c. 1966 c. 1961 10

Medium pastel oil/board oil/paper/board oil/paper/board oil/paper/board oil/board mixed media oil/canvas/board oil/board oil on board oil/board oil/canvas oil/canvas oil/canvas pen/ink oil/board oil/board oil/board oil/board oil/paper/canvas ink/paper oil/board oil/paper/board mixed media oil/leaf/board oil/board oil/board oil/board oil/paper/board oil/board ink/paper calligram/ink/type pen/ink/oil/canvas oil/board oil/canvas oil/board oil/board oil/canvas

Size 9 1/2 x 12 1/2 20 x 16 21 x 29 20 x 16 14 x 11 12 x 16 11 x 18 46 x 34 20 x 16 10 x 8 10 x 8 8 x 10 48 x 36 40 x 48 9 1/2 x 8 14 x 10 8 x 10 7 3/4 x 5 1/6 18 x 19 20 x 16 16 x 20 29 x 16 21 x 29 17 x 18 16 x 22 14 x 8 12 x 16 21 x 30 23 x 18 23 x 17 5x9 7x5 24 x 16 24 x 16 20 x 16 11 1/2 x 15 29 x 23 9 x 12

3. Seated Lady as Harlequin 1958 oil/canvas 49 x 36

1. The Spaniard 1956 oil/board 24 x 18

2. Three Figures and a Boat 1969 oil/canvas 30 x 40

4. Lâ&#x20AC;&#x2122;Atelier 1966 oil/board 49 x 96

5. The White Chest 1961 oil/board 30 x 40

6. Blooming Trees with Chairs 1960 oil/canvas 36 x 24

7. Blooming Trees with Bicycles 1960 oil/canvas 36 x 24

8. Harlequin Family 1965 oil/canvas 48 x 38

9. Two Men 1965 oil/canvas 48 x 38

10. Gray Still Life with Daisies 1961 oil/canvas 28 x 16

12. Dressing Stand 1957 oil/board 12 x 5

11. Three Men on a Beach 1953 casein 48 x 48

13. Three Figures on Red c. 1965 oil/paper/board 28 x 21

14. Blue Still Life 1956 oil/canvas 20 x 24

15. White Fence - Tahiti c. 1965 oil/board 8 x 10

16. This is the Way the World Ends 1951 gouache 18 1/2 x 22 1/2

17. The Clarinet 1953 casein/wood 13 1/2 x 6

18. Figures and Boat 1958 sumi ink 12 x 10

19. My Wall in Tahiti 1956 pen/ink 10 1/2 x 5

20. Eagle 1960 oil/board 26 x 21

21. Kyoto Vase with Branches 1958 mixed media 15 x 18

22. Two Figures with Dove 1965 oil/paper 14 x 10

23. Night Riders 1959 oil/canvas 24 x 45

24. Lake Como 1963 oil/board 21 x 29

25. Church at Cannes 1965 oil/canvas 42 x 30

26. Napoleon in a Storm 1959 oil/board 48 x 59

27. Risque Tout 1954 oil/board 24 x 30

28. Three Wise Men (Bute) 1954 oil/canvas 60 x 54

29. Beach Scene 1953 casein/paper 24 x 29

30. Antibes in Blue c. 1960 oil/canvas 40 x 30

31. Sun Flowers 1965 oil/canvas 35 x 20

32. Button Down Owl c. 1965 plaster 14 x 18

33. Starry Night in Venice 1959 oil/canvas 18 x 10

34. From My Window in Tahiti 1956 pen/ink 10 x 8 1/2

35. Road at Night 1967 oil/canvas 12 x 16

36. Man on Yellow Background, 10/20 c. 1960 etching 9 x 7

37. Moulin at Montmartre c. 1960 pastel 9 1/2 x 12 1/2

38. Seated Bullfighter with Flowers 1965 oil/board 20 x 16

39. Blue Still Life with Bottles 1961 oil/paper/board 21 x 29

40. Artist with Portrait 1965 oil/paper/board 20 x 16

41. Clarinetist in Moonlight c. 1959 oil/paper/board 14 x 11

42. Bottle with Many Fruit 1966 oil/board 12 x 16

43. Fish 1959 mixed media 11 x 18

44. Lady in Orange 1965 oil/canvas/board 46 x 34

45. Artist at Easel c. 1960 oil/board 20 x 16

46. Hippie I c. 1967 oil on board 10 x 8

47. Hippie II c. 1967 oil/board 10 x 8

48. Still Life with Lemon c. 1961 oil/canvas 8 x 10

49. Flutist with Bach c. 1964 oil/canvas 48 x 36

50. Duet c. 1964 oil/canvas 40 x 48

51. Still Life - Tahiti 1956 pen/ink 9 1/2 x 8

52. White Bottle 1955 oil/board 14 x 10

53. Still Life with Grapes and Pear c. 1960 oil/board 8 x 10

54. Still Life in Orange and Green c. 1967 oil/board 7 3/4 x 5 1/6

55. Red Bottle and Turquoise Grapes 1958 oil/board 18 x 19

56. The Writer 1969 oil/paper/canvas 20 x 16

57. Horseman and Full Moon 1959 ink/paper 16 x 20

58. Two Actors c. 1965 oil/board 29 x 16

59. Still Life with Pitcher c. 1960 oil/paper/board 21 x 29

60. Kyoto Still Life 1958 mixed media 17 x 18

61. Oriental Landscape 1959 oil/leaf/board 16 x 22

62. Blue Moon over Venice 1959 oil/board 14 x 8

63. Blue Willows 1965 oil/board 12 x 16

64. Still Life in Dark Brown 1961 oil/board 21 x 30

65. Poet on Blue Field 1960 oil/paper/board 23 x 18

66. Young Bullfighter Seated 1960 oil/board 23 x 17

67. Road Sign 1953 ink/paper 5 x 9

68. Alma, Alma 1953 calligram/ink/type 7 x 5

69. Still Life for Ann Holmes 1957 pen/ink/oil/canvas 24 x 16

70. Poet in Red Beret c. 1965 oil/board 24 x 16

71. Roman Theme 1965 oil/canvas 20 x 16

72. Chicken c. 1965 oil/board 11 1/2 x 15

74. Untitled Still Life Fruit c. 1961 oil/canvas 9 x 12

73. Two Brothers c. 1966 oil/board 29 x 23

Published by William Reaves Fine Art, October 2009

Houston’s Gallery for Early Texas Art

2313 Brun Street • Houston, Texas • 77019 • 713.521.7500 • www.reavesart.com