Harold Bugbee: A Brand of His Own by Foltz Fine Art

Harold Bugbee: A Brand of His Own

Harold Dow Bugbee:

Painting for His Own Brand Harold Dow Bugbee was born in Lexington, Massachusetts in 1900 into a well established New England family tracing roots to the Massachusetts Bay Colony in 1634. His father, Charles Bugbee, was an arborist, musician, farmer and grocer. Grace Dow Bugbee, the artist’s mother, grew up in a family inclined toward the arts. She painted, and her brother Lewis Dow was a prominent Boston architect. Grace’s cousin, Arthur Wesley Dow, achieved prominence as an important American artist and teacher of note whose seminal book, Composition, 29. The Bronc Twister changed art teaching methods in the United States.1 Given his eventual educational choices (in architectural drafting), as well as his career pursuits as a painter, clearly the Dow family especially influenced the early life and education of the young Harold Bugbee. However, while his mother’s family nurtured and cultivated his painterly sensibilities, the Bugbee side of the family presented Harold with real-life cowboy adventures, setting the stage for the family’s eventual move to Texas, and inspiring within the budding young artist a life-long devotion to painting the ranching legacy of the Southern Plains.

Thomas Sherman (T. S.) Bugbee, a close cousin of Harold’s father, went west following the Civil War, leaving New England to become a Texas cattleman. In the fall of 1876, he drove a herd to the Canadian River breaks in Hutchinson County, Texas. He established the Quarter Circle T Ranch with headquarters on Bugbee Creek only a few months after Charles Goodnight founded the J A Ranch in the Texas Panhandle in partnership with Irishman John Adair. He also helped establish other ranches in the area, as well as in Kansas. In 1897, T. S. Bugbee moved his family to Clarendon, Texas, and continued his ranching interests there. Around 1900, he began writing to his Boston cousins, including Harold’s father, extolling the virtues and opportunities of the Texas Panhandle. The Wild West exploits of his “Uncle Tom” Bugbee fascinated the young Harold, who dreamed of becoming a cowboy. When his parents visited Clarendon in 1912, to Harold’s delight they purchased a 1,000-acre ranch northwest of Clarendon, and commissioned his uncle, Lewis Dow, to design a two-story, prairie style house around their New England heirloom 1

furniture. The family moved to Clarendon in 1914, living in a house already on the ranch while the larger house was being built.2 Harold attended Clarendon High School, where he played sports, including football, and illustrated the yearbook. In 1917, he enrolled first at Clarendon College, and subsequently at Texas Agricultural & Mechanical College, 9. Cool Shadows studying architectural drawing. However, due to his father’s illness Harold soon left TAMC, returning home in 1918 to run the family ranch. Not only did the young Bugbee help run the family’s 3 B Ranch, he cowboyed on the J A and R O ranches as well, even taking a herd of steers to Kansas City for the J As in the early 1920s. He gained local notoriety among Panhandle cowmen as a very good calf roper. Still, from the saddle or corral fence he honed his skills as an artist, saying little but always sketching on any available paper, including the backs of Levi’s jeans labels, invoices, and envelopes. In 1919, he traveled to Taos, New Mexico, with a desire to paint and hopes of studying with W. Herbert Dunton, a founder of the Taos Society of Artists. Although Dunton did not accept students, he and Bugbee became close friends and remained so until Dunton’s death in 1936.3 Bert Geer Phillips, a Dunton friend and another Taos founder, suggested that Bugbee enroll at the Cumming School of Art in Des

Moines, Iowa. He did so and after two years, Charles A. Cumming encouraged Bugbee to return home and paint what he loved, the West, saying he couldn’t teach him anything else. Bugbee returned to Texas in 1922, cowboying part-time under the watchful eyes of legendary cattlemen Frank Collinson and Charles Goodnight, and rendering the landscape and wildlife of the Texas Panhandle and the American Southwest in oils and charcoal, as well as nostalgic paintings of Indians and cowboys. From 1934 until his death in 1943, Frank Collinson published a series of his reminiscences in Ranch Romances magazine, and these were illustrated by his young friend, Harold Bugbee.4 Bugbee’s early painting of 2. Col. Goodnight Collinson, The Cattleman, is in the current exhibition (no. 28). Harold also remained close friends with Charles Goodnight until the cattleman’s death in 1929, often visiting him at Goodnight, Texas, not far from Clarendon. Bugbee produced many 2

paintings, drawings and at least one sculpture of Goodnight. His Colonel Goodnight in this exhibition is an excellent example of this important part of Bugbee’s oeuvre (no. 2). Each fall, beginning in 1922 and continuing until the late 1930s, Bugbee traveled to Taos to paint with fellow artists “Buck” Dunton, Frank Hoffman, Leon Gaspard and Ralph Meyers. By the late 1920s, Bugbee was exhibiting his work in Taos and in Texas, sometimes as “Alkali” Bugbee. Eventually, his Taos companeros dubbed him “Bill,” feeling that Harold wasn’t 27. Heat and Sunlight Western enough. Consequently, Bugbee always signed his work “H. D. Bugbee.” Examples of his Taos work include Cool Shadows and Summer Moonlight-Taos in the current exhibition (no. 9 and 40). Throughout his career, Bugbee turned for inspiration to the masters of the American West, especially Dunton, Frederic Remington and Charles M. Russell. He never met Russell, but owned three Russell bronzes, probably reproductions or recasts. Bugbee probably first saw Remington’s paintings reproduced in Collier’s Weekly. From 1903 to 1907, Remington was under contract to Collier’s to create one painting per month for reproduction in the magazine. In his library, Bugbee had more books about, by, or illustrated by Russell and Remington than any other artists. He also collected reproductions of their paintings. As a primarily self-taught artist, Bugbee

developed and perfected his own distinctive brand of painting and drawings by synthesizing elements of these earlier influences. His cowboy compositions are Russell-inspired, while his wild-life subject matter references those of his mentor, “Buck” Dunton. Bugbee’s impressionist tendencies, rich textures and colorful palettes seem most influenced by those of Remington, while his drawings and illustrations reflect the approaches of Russell and Will James. This is not to suggest, however, that Bugbee’s work is simply derivative of Remington, Russell, Dunton or others of the Taos school. Rather, as all artists have done throughout history, he simply looked to the recognized masters of a certain genre for ideas and possible solutions to problems. Consequently, the legacy of Russell and Remington, Dunton and his Taos Colony friends clearly passed to Bugbee as he captured Texas and Southwestern legends. This is especially true in his work from the 1920s and early 1930s. Works from this period, including The Bronc Twister, Snowy Roping and Heat and Sunlight exhibited here, all show the influence of these Western masters (no. 29, 20, and 27). By the early 1930s, Bugbee was established as a Western painter of note, with galleries in Chicago and Denver exhibiting his work. In addition, he was also represented by Kansas City’s Conrad Hug Gallery, which handled the work of Frederick Remington, as well as the 3

Fort Worth. His Frank Collinson, Cowman was one of his entries at the University Centennial Exposition at Austin in 1936, and the painting Night Guard in this exhibition is a later version of a similar painting he exhibited at the University Centennial Exposition (no. 26). Bugbee’s mural of Panhandle cattleman R. B. Masterson hung in the Hall of Cattle Kings at the Greater Texas and PanAmerican Exposition at Dallas in 1937. He also had numerous solo exhibitions in Texas. His last major exhibition outside the Panhandle was in Fort Worth in the late 1930s. In 1931, Bugbee designed the Doan’s Crossing bronze monument near Vernon, Texas, the beginning of several public endeavors. Three years later, he proposed to the New Deal’s Public Works of Art Project (PWAP)6 four murals for Panhandle-Plains Historical Museum’s Pioneer Hall. The PWAP partnered him with Amarillo artist Ben Carlton Mead, and Bugbee and Mead were designated class A artists.7 They were hired by the PWAP to paint one mural each for Pioneer Hall.8 Bugbee and Mead then planned six additional panels for the Hall, but additional PWAP commissions were not forthcoming for

Ferargil Gallery in New York, who exhibited important American artists, such as Rockwell Kent, Ernest Lawson, Peter Hurd, Norman Rockwell, and Walter Ufer. In 1933, the artist began illustrating magazines such as Ranch Romances, Western Stories, Country Gentleman and Field and Stream, as well as books on Western history, including J. Evetts Haley’s Charles Goodnight: Cowman 5. Alert Line Up (Mustangs) and Plainsman, Willie N. Lewis’s Between Sun and Sod, S. Omar Barker’s Songs of the Saddleman and others. Although not the main illustrator for J. Frank Dobie’s The Mustangs, Bugbee did provide an image for this book. Alert Line Up (Mustangs), is part of the artist’s series which evolved into the Dobie illustration (no. 5). Bugbee also continued to create easel paintings and entered these in important juried exhibitions. He exhibited at the annual Taos artists show at the Harwood. In Texas, Bugbee was one of only six Texas artists selected to show at the Fort 26. Night Guard Worth Frontier Centennial Exposition in 1936.5 He also exhibited at the University Centennial Exposition at Austin in 1936, the Greater Texas and Pan-American Exposition at Dallas in 1937, and in the annual West Texas art exhibitions at 4

the Museum, or for any other locale on the Texas Plains.9 In January 1935, Bugbee married Katherine Patrick, T. S. Bugbee’s granddaughter and Harold’s distant cousin. To keep food on his expanded table, the artist continued to produce ink drawings for the “pulps” and the “slicks”. Poker Trouble and Buckskin Joe are representative examples of the types of ink drawings Bugbee created in the 1930s and 1940s (no. 48 and 10). Bugbee also submitted sketches for New Deal mural projects at Amarillo and El Paso in 1939. In March 1940, the United States Coronado Exposition Committee, a Works Progress Administration agency, and its successor, the Coronado Cuarto Centennial Commission, agreed to fund two of the remaining six murals proposed by Bugbee and Mead in 1934. Bugbee installed his completed “Ranch Headquarters” mural at the Museum in late 1940.10 Bugbee was drafted into the United States Army in September 1942, quickly completing a mural commission for the Old Tascosa Room in Amarillo’s Hotel 13. Last of the Southern Buffalo Herring before reporting to duty. Sent to Fort Belvoir, Virginia, he was initially assigned to the topographical corps. However, he failed several eye examinations and was re-assigned to the infantry at Camp Butler, North Carolina. While there he suffered an ankle injury during

a parachute drop. Because of the injury and due to his age of 44, he was honorably discharged in November 10. Buckskin Joe 1944. Following this discharge, he painted three murals for the Amarillo Army Air Field as his additional contribution to the war effort. In the late 1940s, Bugbee served as an illustrator and artist for the Shamrock Oil and Gas Company (now Diamond Shamrock), encouraged in this venture by the company’s chairman, J. Harold Dunn, an avid collector of the artist’s work. Through this arrangement, the artist supplied illustrations for many of Shamrock’s publications, as well as creating a series of ink drawings and oil paintings which the company reproduced as gifts for stockholders and subscribers. Because of their extremely high quality, these reproductions -- especially the ink drawings -- are often mistaken today for original works. Bugbee became the first Curator of Art at the Panhandle-Plains Historical Museum in 1951, agreeing to work part-time in that position so 5

he could continue painting. Two years later he began a series of murals on American Indian life for the Museum’s Indian Hall. Over the next two years, Bugbee painted 13 murals that were installed above exhibit cases holding examples from the Museum’s American Indian collection. Seven of the murals depict Southern Plains Indians, while the others highlight Jicarilla Apache, Taos, Navajo and Hopi tribes. He later added four Indian dance murals to the cycle.11 In early 1956, PPHM Director C. Boone McClure approached Bugbee and Ben Carlton Mead about finishing the Pioneer Hall mural cycle they 24. Joe Horn Heeling Calves started under the PWAP some twenty years prior, in 1934. Bugbee’s Hide Hunters and Mead’s Comancheros12 were installed in May 1957.13 The mural cycle originally planned by Mead and Bugbee in 1934 was altered somewhat before work resumed in 1957 -- a modern ranching setting by Bugbee replaced the original idea for a “nester scene” by Mead over the south entrance.14 Furthermore, Bugbee finally began the buffalo hunt mural he had hoped to paint over the north door in 1940. Kiowa Hunting Buffalo and Working Cattle on the Open Range15 were completed in 1957 and 1958, respectively . Kiowa Hunting Buffalo provided Bugbee with another opportunity to sketch and paint one of his favorite animals. He had been painting buffalo throughout his career, beginning with

Charles Goodnight’s herd in the late 1920s. His Last of the Southern Buffalo and Buffalo Along the Canadian are two of his final canvases of this symbol of the American West (no. 13 and 12). In addition to wildlife, his last Pioneer Hall mural also helped Bugbee refocus on ranching in the late 1950s and early 1960s. He produced a kind of informal “life of a cowboy” series of easel paintings, using old timers Joe Horn, J. W. Kent and Wayman Brown as models in paintings, such as Joe Horn Heeling Calves and Riding the Grub Line shown here (no. 24 and 21). He also produced several “nocturnes” during this period, including Remuda-Early Morning and Bringing in the Remuda (no. 41 and 6). H. D. Bugbee, who had suffered from an enlarged heart all his life, died in his sleep on March 27, 1963. His place in early Texas art is unique. His commitment to depicting Western life on the Southern Plains and West Texas paralleled what Charlie Russell had done on the Northern Plains some 25 years earlier. Today, cowboy artists are legion in Texas, but during Bugbee’s active period from about 1920 through 1963, he was truly one of the only cowboy artists in the Lone Star State. He arrived on the Texas Plains as a tenderfoot during the twilight of the open range era. He earned his spurs working cattle along-side legendary cowboys of an earlier time and had come to know giants 6

of Texas ranching history, such as Charles Goodnight. Over a period of some 40-plus years, Bugbee carefully observed the natural progressions of ranching and ranch life across the Texas Panhandle and the Southwest, and set them down in a rich and significant body of art. Like the Western Masters he admired, Bugbee painted the ranching legacy of his adopted state with the sensitivity and authenticity of a working cowboy. For all intents and purposes, H. D. Bugbee became the “Charlie Russell of Texas,” a title which would surely have pleased him. Today over 1,000 Bugbee works are part of the Panhandle Plains Historical Museum’s art collection, and a reconstruction of his studio is on the PPHM’s second floor. His work can be found in the collections of the Smithsonian’s 6. Bringing in the Remuda American Art Museum in Washington, D.C.; the Amon Carter Museum and Cattleman’s Museum in Fort Worth; the American Quarter Horse Hall of Fame and Museum in Amarillo; the Museum of the Southwest and the J. Evetts Haley History Center in Midland, Texas; and the National Cowboy Hall of Fame in Oklahoma City. This show, mounted skillfully by William Reaves Fine Art, represents the first one-man exhibition of the artist’s works outside the Texas Panhandle in over seventy years. Perhaps by showing these works down-state and conveying them within the context and spirit of Houston’s

great livestock show and rodeo, more Texans can encounter the art of their greatest cowboy artist, and gain a renewed appreciation of his own distinctive brand of Texas art. Michael R. Grauer, March 2010 Associate Director for Curatorial Affairs/ Curator of Art Panhandle-Plains Historical Museum, Canyon, Texas

1 Dow’s theories were taught to Georgia O’Keeffe by Dow’s Columbia colleague, Alon Bement. 2 The smaller house survives in a dilapidated condition northwest of the main house and is where Harold painted most of his murals, including those for Panhandle-Plains Historical Museum’s Pioneer Hall and the Amarillo Army Air Field (now at the Smithsonian American Art Museum). 3 For an examination of Bugbee and Dunton’s friendship, see Michael R. Grauer, “Dear Bill: The Letters of W. Herbert Dunton to Harold D. Bugbee,” Panhandle-Plains Historical Review 64 (1991). 4 Collinson’s Life in the Saddle, is a compilation of the articles he wrote for Ranch Romances magazine, illustrated by Bugbee. 5 The other artists were Edward G. Eisenlohr, Clinton King, John M. “Tex” Moore, Elisabet Ney, and Frank Reaugh. Hughlette “Tex” Wheeler also exhibited, but he was a Florida artist. 6 This was the first of President Franklin Delano Roosevelt’s New Deal art projects. 7 Class A artists received $42.50 per week; Class B, $26.50; and Class C, $15.00. A ten-percent pay cut on 21 January further reduced wages. 8 The Canyon News, 18 January 1934. 9 Bugbee and Ben Carlton Mead (1902-1986) planned an eight-mural cycle for Pioneer Hall in late 1933 and early 1934. For a complete examination of the Pioneer Hall mural cycle, see Michael R. Grauer, “The Artistic Legacy of the New Deal on the Texas Plains,” Panhandle-Plains Historical Review 67 (1994): 15-41. 10 The Canyon News, 26 September 1940. 11 In 1955, the Museum published a monograph on the Indian Hall cycle, Those Who Came Before Us, with a foreword by J. Evetts Haley and a description of each mural written by Bugbee. 12 Quanah Parker is the Comanche figure with his arms folded and Mead, himself, modeled for one or all of the Comancheros. 13 The Canyon News, 8 May 1957. See also Bugbee and Mead correspondence to McClure in McClure Papers, RC, PPHM. 14 C. Boone McClure to Bugbee, 26 March 1956. The military expedition mural was also deleted from the 1939 plan by the Museum’s Board of Directors sometime between 1939 and 1956. After Mead completed his Comancheros while living in Dallas, he declined to be involved in the mural cycle any longer, feeling it was too difficult to paint a mural “long distance.” 15 Figures in the mural include: J. Evetts Haley, the rider in the left foreground, and Harold Bugbee, the rider in the right foreground. The figure in profile in the center of the composition was formerly purported to be J. Harold Dunn, former president of Shamrock Oil and Gas. But C. Boone McClure informed the author that while he did not know the identity of the figure, he felt confident it was not Dunn.

Exhibition Checklist No. Title 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36.

Date

Medium

[J.W. Kent Clarendon] c.1925 Col. Goodnight 1928 Self Portrait n.d. n.d. Wayman Brown (JA Cowboy) c.1951 Alert Line Up (Mustangs) Bringing in the Remuda 1958 c.1928 Mustangs (from triptych) Chestnut Horse 1925 Cool Shadows 1922 Buckskin Joe c.1935 Buck 1932 Buffalo Along the Canadian 1962 Last of the Southern Buffalo 1961 c.1928 Buffaloes (from triptych) Lobo in Prairie Dog Town c.1935 [Two Wolvers/Skull] 1938 [Owl/Skull] 1935 Mr. Pete 1939 Gray Dawn 1938 Snowy Roping 1928 Riding the Grub Line 1961 Bucker in Corral c.1935 Roping in Canyon 1935 Joe Horn Heeling Calves 1961 Untitled Roping Scene n.d. Night Guard 1959 Heat and Sunlight n.d. The Cattleman (Frank Collinson) 1923 The Bronc Twister 1927 On the Prod 1959 Bucking Horse c.1935 Bucker c.1935 Roping c.1935 Roping a Lobo c.1935 Roping Bear c.1935 Mustanger c.1935

oil/board oil/board oil/board oil/board oil/board oil/canvas oil/canvas oil/board oil/board ink wash ink wash oil/canvas oil/canvas oil/canvas charcoal/wash pen/ink watercolor watercolor/ink oil/canvas oil/board oil/canvas ink wash dry brush oil/canvas oil/board oil/canvas oil/board oil/board oil/board oil/canvas ink wash dry brush dry brush ink wash pen/ink charcoal/ink wash 9

Size

14 x 10 in. 10 x 7 1/8 in. 10 x 7 1/8 in. 6 x 5 1/8 in. 7 1/8 x 10 in. 22 x 28 in. 20 x 14 in. 4 1/2 x 6 in. 10 x 14 in. 12 1/4 x 14 in. 6 x 9 in. 22 x 28 in. 22 x 28 in. 20 x 14 in. 15 x 21 1/2 in. 12 1/8 x 12 1/8 in. 11 5/8 x 9 in. 12 3/8 x 9 1/4 in. 30 x 40 in. 10 x 14 in. 22 x 28 in. 11 x 15 7/8 in. 12 1/4 x 17 3/4 in. 22 x 28 in. 12 x 9 in. 22 x 28 in. 8 x 10 in. 14 x 10 in. 10 x 8 in. 10 x 14 in. 12 x 9 in. 14 3/8 x 11 3/8 in. 12 1/2 x 17 7/8 in. 11 1/4 x 13 1/2 in. 9 x 10 1/2 in. 11 x 15 in.

Exhibition Checklist, cont. No. Title

Date

Medium

37. Roping Steer c.1935 pen/ink 38. Saddling Up c.1935 litho crayon 39. Night Watch c.1935 oil/board 40. Summer Moonlight - Taos 1925 oil/board 41. Remuda - Early Morning 1961 oil/canvas 42. Road to Lighthouse c.1935 oil/board 43. Palo Duro Pens 1918 oil/board 44. Indians in Canyon n.d. charcoal/wash 45. Cowboy 1 c.1935 ink wash 46. Cowboy 2 c.1935 charcoal/ink wash 47. Dan 1936 pen/ink 48. Poker Trouble 1935 dry brush 49. Flute Player n.d. watercolor/crayon

Size 14 x 22 in. 11 x 15 1/4 in. 4 3/4 x 6 in. 7 x 10 in. 22 x 28 in. 7 x 8 in. 10 x 14 in. 11 1/8 x 15 1/4 in. 10 1/4 x 14 7/8 in. 11 x 15 in. 13 x 8 3/8 in. 12 x 9 in. 12 x 9 1/8 in.

1. [J.W. Kent Clarendon], c.1925, oil/board, 14 x 10 in.

2. Col. Goodnight, 1928, oil/board, 10 x 7 1/8 in.

3. Self Portrait, n.d., oil/board, 10 x 7 1/8 in.

4. Wayman Brown (JA Cowboy), n.d., oil/board, 6 x 5 1/8 in.

5. Alert Line Up (Mustangs), c.1951, oil/board, 7 1/8 x 10 in.

6. Bringing in the Remuda, 1958, oil/canvas, 22 x 28 in.

7. Mustangs (from triptych), c.1928, oil/canvas, 20 x 14 in.

8. Chestnut Horse, 1925, oil/board, 4 1/2 x 6 in.

9. Cool Shadows, 1922, oil/board, 10 x 14 in.

10. Buckskin Joe, c.1935, ink wash, 12 1/4 x 14 in.

11. Buck, 1932 , ink wash, 6 x 9 in.

13. Last of the Southern Buffalo, 1961, oil/canvas, 22 x 28 in.

12. Buffalo Along the Canadian, 1962, oil/canvas, 22 x 28 in.

14. Buffaloes (from triptych), c.1928, oil/canvas, 20 x 14 in.

15. Lobo in Prairie Dog Town, c.1935, charcoal/wash, 15 x 21 1/2 in.

16. [Two Wolvers/Skull], 1938, pen/ink, 12 1/8 x 12 1/8 in.

17. [Owl/Skull], 1935, watercolor, 11 5/8 x 9 in.

18. Mr. Pete, 1939, watercolor/ink, 12 3/8 x 9 1/4 in.

19. Gray Dawn, 1938, oil/canvas, 30 x 40 in.

20. Snowy Roping, 1928, oil/board, 10 x 14 in.

21. Riding the Grub Line, 1961, oil/canvas, 22 x 28 in.

22. Bucker in Corral, c.1935, ink wash, 11 x 15 7/8 in.

23. Roping in Canyon, 1935, dry brush, 12 1/4 x 17 3/4 in.

24. Joe Horn Heeling Calves, 1961, oil/canvas, 22 x 28 in.

25. Untitled Roping Scene, n.d., oil/board, 12 x 9 in.

26. Night Guard, 1959, oil/canvas, 22 x 28 in.

27. Heat and Sunlight, n.d., oil/board, 8 x 10 in.

28. The Cattleman (Frank Collinson), 1923, oil/board, 14 x 10 in.

29. The Bronc Twister, 1927, oil/board, 10 x 8 in.

30. On the Prod, 1959, oil/canvas, 10 x 14 in.

31. Bucking Horse, c.1935, ink wash, 12 x 9 in.

32. Bucker, c.1935, dry brush, 14 3/8 x 11 3/8 in.

33. Roping, c.1935, dry brush, 12 1/2 x 17 7/8 in.

34. Roping a Lobo, c.1935, ink wash, 11 1/4 x 13 1/2 in.

35. Roping Bear, c.1935, pen/ink, 9 x 10 1/2 in.

36. Mustanger, c.1935, charcoal/ink wash, 11 x 15 in.

37. Roping Steer, c.1935, pen/ink, 14 x 22 in.

38. Saddling Up, c.1935, litho crayon, 11 x 15 1/4 in.

39. Night Watch, c.1935, oil/board, 4 3/4 x 6 in.

40. Summer Moonlight - Taos, 1925, oil/board, 7 x 10 in.

41. Remuda - Early Morning, 1961, oil/canvas, 22 x 28 in.

42. Road to Lighthouse, c.1935, oil/board, 7 x 8 in.

43. Palo Duro Pens, 1918, oil/board, 10 x 14 in.

44. Indians in Canyon, n.d., charcoal/wash, 11 1/8 x 15 1/4 in.

45. Cowboy 1, c.1935, ink wash, 10 1/4 x 14 7/8 in.

46. Cowboy 2, c.1935, charcoal/ink wash, 11 x 15 in.

47. Dan, 1936, pen/ink, 13 x 8 3/8 in.

48. Poker Trouble, 1935, dry brush, 12 x 9 in.

49. Flute Player, n.d., watercolor/crayon, 12 x 9 1/8 in.

Houston’s Gallery for Early Texas Art

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