Editor's note: The Birger Sandzén Memorial Gallery and Cori Sherman North provided permission for Resource Library to publish the following essay for the exhibition A Generous Spirit: Paintings and Prints by Doel Reed, 1894-1985, held May 3 through July 19, 2015 at the Birger Sandzén Memorial Gallery. If you have questions or comments regarding the essay and associated materials, please contact Birger Sandzén Memorial Gallery directly through either this phone number or web address:
A Generous Spirit: Paintings and Prints by Doel Reed
by Cori Sherman North
Over the course of his illustrious career Doel Reed (1894-1985) exhibited in at least 350 juried shows and garnered over 100 national and international awards for his art, primarily for his masterful aquatint etchings. However, at the close of his 91-year lifetime as an artist, Doel Reed's friends remembered him best as a "most kind and generous person--someone who always looked for the good in other people."[1] Students who respected the valuable instruction Reed provided during 35 years of heading the art department at Oklahoma State University, recall the professor's gentle and encouraging methods. Reed loved teaching and was proud to say that in all his years, no one ever told him how to teach or criticized his methods. "I had a free hand and I turned out some pretty good students. When I went to school we had a professor who just tore your drawings all to pieces and I thought there must be another way."[2]
Doel Reed's affable personality and good humor shine through his letters to other artists, even when writing on exhibition practicalities. Reed had a long history with the Sandzén family and the Birger Sandzén Memorial Gallery, and the gallery archives preserve correspondence exchanged over the years that illuminate the artist's friendships. The current Doel Reed exhibition organized by the Sandzén Gallery builds on a fine permanent collection holding of eight oil paintings, a drawing, and twelve aquatint etchings. Rounding out the show are loans from the Fred Jones Jr. Museum of Art in Norman, Oklahoma, the Pierson Gallery in Tulsa, and several private sources. The exhibition pulls together a total of twenty-four paintings, thirty prints, eight drawings, and two zinc etched plates to provide an overview of Reed's entire body of work.
It is not known exactly when or how Doel Reed and Birger Sandzén (1871-1954) were introduced. But, from the first mention of Reed's name in Sandzén's art register books in 1936, it is clear the two artists had an admirable relationship. On October 23, 1936, Sandzén records the titles of eight of his own prints that he has mailed that day to Doel Reed in Stillwater, "for exchange." Unfortunately, Sandzén neglected to record the titles of Reed's prints he received in return. But, by process of elimination, it is not hard to figure out that aquatints that were made in 1936 or before and were not given by another donor, fall into a nice category of Mexican scenes, which Sandzén would have greatly enjoyed. Growing up in rural Sweden, young Birger read tales of the American West and William Prescott's Conquest of Mexico(1842) that inspired a spirit of adventure and the desire to see those exotic lands for himself one day. Sandzén traveled to Mexico twice, the first time in 1899 and then again in 1935.
Reed and Sandzén could have met at a variety of exhibitions around the region. Both participated in the Kansas City Art Institute's annual Midwestern Art Exhibitions from the mid-1920s onwards, with Sandzén serving as a jury member on several occasions that Reed was also showing work. The two artists had many friends in common, and it could have been any number of mutual art acquaintances who brought the men together. In 1916, Sandzén invited Joseph Henry Sharp (1859-1953) to show his paintings of Taos scenes in the annual McPherson High School exhibition he had been organizing since 1911. Sharp was an original member of the Taos Society of Artists (founded 1915), but also taught at the Cincinnati Art Academy where Reed was just beginning to study in the mid-19-teens. Although officially retired from teaching by 1915, Sharp continued to visit the academy after settling in Taos when he returned for canvas and art supplies, and even guided a group of Cincinnati students back to Taos to paint the New Mexico landscape. Doel Reed had not been able to go on that trip, but heard of the wonders of the western terrain from others upon their return.[3] At the Christmas season of 1915, Sharp began an annual exhibition in Cincinnati that continued for the next fifteen years, and in 1922, when Reed's daughter Martha Jane was born and he made his first etching announcing her birth, it was Sharp's old press that was used to pull the edition of prints.[4] It would seem likely that knowing Sharp could very well have influenced Reed in his decision to move west in the autumn of 1924 to begin a teaching career at Oklahoma A & M (now Oklahoma State University) in Stillwater.
Doel Reed never regretted the bold move. Later in life when asked about his feelings upon arrival, seeing the sparse vegetation and vast skies above, he replied, "I have been in the Southwest for so many years that I feel definitely a part of this region. The feeling of endless space of the great plains, the high mountains, the unlimited sky and clouds have been a great source of inspiration for the development of my own style which might not have materialized elsewhere."[5] Part of the appeal for moving to Oklahoma was the dry climate. In World War I, Reed had served with the Fourth Division as a Regimental Observer in reconnaissance and map making, and keeping track of enemy movement. He survived a mustard gas attack at the Argonne Forest in France, but was left blinded for a month and with forever impaired respiration. The artist always felt the high desert climate was beneficial and contributed to living such a long, full life.
After recovering in army hospitals at the end of the war, the artist was able to return to the Cincinnati Art Academy and graduated in 1920. He married Elizabeth Jane Sparks and taught at a small, local school a few years. This was the period Reed began to teach himself printmaking. He had observed professor L.H. Meakin (1850-1917) printing Frank Duveneck's (1848-1919) etched plates at the academy, but relied on personal study of Francisco Goya (1746-1828)'s prints and E.S. Lumsden's (1883-1948) text, The Art of Etching (1925), and much experimentation. Reed concentrated on line etchings for several years, and then in 1929 produced his first known aquatint, an untitled view of a Paris street corner, which is included in this exhibition.
Settling in Oklahoma that first school term in 1924, Reed discovered he was the only artist on campus and was faced with creating an art department. He began with the basics of drawing and landscape painting, and in a few years was able to obtain funding to have an OSU shop build a wooden press Reed had designed for the department.[6] The Reed family enjoyed their new community and freely participated in school activities, as can be seen in regular reports in the Daily O'Collegian. As early as the spring quarter of 1925, Reed's stage sets created were admired in student theatrical productions. But, the artist took a little time getting used to his new environment: "When I first went to Oklahoma, I was dumbfounded at the flatness of the landscapeit was difficult to find anything to paint, and I think I walked a thousand miles up and down the Cimarron River trying to find something that would get up above the horizon."[7]
During the first years in Oklahoma, Reed met Oscar Brousse Jacobson (1882-1966), the head of the art department at the University of Oklahoma in Norman. An article in the O'Collegianof February 2, 1929, notes that Reed was exhibiting his work at OU and that Jacobson was "sponsoring the exhibition." Oscar Jacobson had been one of Birger Sandzén's earliest students at Bethany College in Lindsborg, Kansas, and the two Swedish-born artists remained close throughout their lives. It seems very likely Jacobson would have been pleased to introduce the new Oklahoma resident to his Kansas mentor.
The idea of place was always important to Reed, as revealed in so many of his paintings and print signatures that record "Paris," "Mexico," or "Taos." As a professor, Reed was able to take sabbaticals for trips to Paris in 1926 and for the 1930-31 academic year, and spent most summers on driving expeditions to interesting places such as Mexico and the American southwest. And, always, his work reflects the surroundings seen. His untitled painting of Notre Dame (with signature Doel Reed/Paris/26) loaned from a private collection shows an short-lived interest in trying a pointillist style of paint application for a glittery lighting effect, and allows dating of a similar, untitled work in the Sandzén Gallery's collection, which depicts ladies standing among sun-drenched trees. Further comparisons of Reed's paintings across collections have allowed for better attributions of date and subject. Two canvases in this exhibition bear oval stamps of a well-known Paris shop, Lucien Lefevre-Foinet, located in the Montparnasse area of the city. Established in the 1880s, this fine art supply company was always popular with foreign artists as well as local, and is known to have served as a point of contact for artists exhibiting in the Paris Salons who resided in far-distant countries. The 1926 painting of Notre Dame has one shop stamp on the back of its canvas and the Sandzén Gallery's Rooftopsoil has another. When Rooftopswas donated to the Sandzén Gallery in 1976, it was accompanied by a certified appraisal that cited the work as "MediterraneanRooftops, ca. 1920." Looking past the French label and much more critically at the scene depicted these many years later, the rooftops in question appear to be Midwestern rather than Mediterranean--and perhaps were nearer to Reed's school in Cincinnati on the Ohio River than to the Riviera.
By 1930, Doel Reed had stepped up his printmaking, creating more designs each year and becoming more proficient at the complex process of aquatint etching. He won the gold medal for graphic arts with the aquatint Paris Restaurantat the 1932 Kansas City Art Institute's annual exhibition. As noted above, in 1936, Reed was exchanging his aquatints for prints by the well-established artist Birger Sandzén. In an October 13, 1932, O'Collegianreporting on Reed's trip to Mexico earlier that summer, it is noted that aquatints of Mexican scenes the artist produced were currently "in the traveling exhibition of the Prairie Print Makers." This printmaking society had been founded in December of 1930 in Sandzén's Lindsborg home studio, with eleven charter members banding together to promote the art and make original works more affordable to a wider audience. Other printmakers were quickly added to the roster after Sandzén produced the first gift print for the society in 1931. Reed created his aquatint, Spring, ten years later, in 1941, in an edition of 200 impressions for a greatly-expanded international membership.
In 1937, Sandzén guided Bethany College's Smoky Hill Art Club (founded 1913) to purchase Reed's Oklahoma Barnfor $25.00 for the school's growing collection. The next year, Sandzén mailed Reed a bulletin for Bethany College's annual spring Messiah Festival, and invited the Oklahoma artist to show in the accompanying exhibition that Sandzén had been overseeing since 1899. Continuing regard can be seen in May of 1940, when Sandzén choose twenty prints from his personal collection to be shown at the Colorado Springs Fine Arts Center. Among such greats as Anders Zorn (1860-1920) and Seymour Haden (1818-1910), he sent Reed's Mexican scene Afternoon, of 1935. In an April 16, 1942, letter to Sandzén, Doel Reed states that he is "Always happy to [be] represented in your fine collection - and the college one-," while he generously says that, "I shall be glad to allow the Art Club a discount of 1/3" in the purchase of his work. Reed adds in that letter that he is hoping to visit Lindsborg, and then shares news of being elected to associate membership of the National Academy of Design (full member status came in 1952).
More recognition for the excellence of his work followed in the 1940s and '50s. Reed's aquatint Springhad been chosen to represent the Prairie Print Makers in 1941. He also completed two aquatint etchings for the Association of American Artists, another national print organization based in New York: Restin 1941 and Evening Musicin 1946. The Library of Congress published a checklist of its exhibition, "Catalogue of the 4th National Exhibition of Prints Made during the Current Year--May 1- Aug 1," in 1946, which included Reed's aquatint, Nude with Spring Landscape.
One surprising connection to artist Birger Sandzén is Doel Reed's membership in the long-running Prairie Water Color Painters society the Swedish professor had established in 1933, just three years after the successful Prairie Print Makers' founding. Unlike the printmaking administration, Sandzén kept the watercolor membership records himself, and organized each academic year's circulating show through the 1940s. Reed has never been known as a watercolorist, and there are no Reed watercolors included in this exhibition. But, rosters in the Sandzén Gallery archives prove Reed was a Prairie Water Color Painter from 1946-47 through the 1966-67 exhibition calendars. He did not get off to an auspicious start, however, as the 1946-47 members' list has Doel Reed's name on it but added double asterisks that reveal Reed, "Indicated would like to exhibit but did not pay dues." Reed also participated in the special Prairie Water Color Painters' exhibition of 1949 that was ent to Derby, England, with his Mesa Ranchand Noon Stormgouaches listed on the printed brochure.
At some point during the early 1940s, the Reed family began summering regularly in Taos, New Mexico. The Spanish and Indian cultures appealed to the artist, as well as the mountainous landscape where he "felt the great forces of nature coming up."[8] Although Reed was not an official member of the Taos Society of Artists, when LIFE magazine ran a story on the colony in 1957, founding artist Ernest Blumenshein (1874-1960) was asked to gather the "best artists" in his studio for a group photograph, he included the vacationing Oklahoma printmaker.[9] Soon after, the Reeds became permanent residents in the New Mexico locale. The artist later reflected, "You don't have to be crazy to live in Taos, but it certainly helps."[10]
Upon retirement from OSU in 1959, the Professor Emeritus moved to Talpa, a village just south of Taos, into a century-old adobe house with a goat shed that he turned into a studio. Adobe structures are featured in many of the artist's compositions. Reed said he liked the feel of the old houses and churches, as "They don't jar against the mountains...they are the earth itself."[11] New Mexican churches are often very small buildings, too small to hold all the regular worshippers. So, outdoor spaces, atria, evolved as part of the sacred precincts in order to deliver services to large crowds, and in so doing, merged human presence with nature. In the mid-1960s, the Sandzén Gallery acquired what has been acknowledged one of Doel Reed's finest paintings, Campo Santos of 1961, thanks to a collaborative effort to bring about the purchase and donation. A campo santo is a cemetery, a burial ground usually marked by earthen walls of a churchyard, separated from the secular world. Sometimes a single cross would serve to mark all the gravesites enclosed. Many of Reed's compositions include adobe churches, or ruins of buildings crumbling into the landscape.
Birger Sandzén died in 1954, but his daughter Margaret (1909-1993) and her husband Charles Pelham Greenough, the 3rd (1908-1983), spearheaded the building of the Birger Sandzén Memorial Gallery, which opened doors in 1957. Its mission has always been to share Sandzén's art with the world and to assist working artists around the region through exhibitions and sales of current work. In March of 1963, Doel Reed wrote to the Greenoughs to suggest an exhibition of thirty aquatints, thus beginning a cordial relationship with the next generation of Sandzén family with plans for the first Reed exhibition at the Gallery. Margaret wrote to Reed again January 10, 1975, recalling his work her father had collected, the fine painting Campo Santosacquired a few years back and possible only because of a "most generous price you made us," as well as a gift of an aquatint from the 1963 Sandzén Gallery exhibition. Margaret invited Reed to show at the annual spring "Midwest Art Exhibit," and he sent seven paintings to the Gallery for the Messiah Festival that year. One of the works Reed shipped was Thunderstorm, Late Afternoon(1974), which Margaret bought from Reed on the installment plan. In a June 24, 1975, letter arranging for another exhibition of aquatints in November that same year, Pelham Greenough mentions that his wife is "so very pleased to know that you are sending along your painting long before she has fully paid for it."
In the same letter, Pelham Greenough went on to tell Reed, "I am most anxious to have a big show of your aquatints and I am wondering what would be a good month for you to send us a group." Further correspondence reveals a show of 35 matted prints was settled upon, and a few drawings were also included. Dale Hoag of Lindsborg recalls buying the aquatint Sun and Walking Rain(1975) from that 1975 show of prints, and hearing that it was one of the artist's favorites. It is quite fitting to welcome that print back onto the Gallery walls 40 years later, lent to this exhibition.
The last Doel Reed exhibition organized at the Sandzén Gallery was held in April, 1985. Reed had sent a list of 62 prints in his personal collection from which 30 could be chosen to show. On the pages, he noted that although none of these particular impressions were for sale, the Mission Gallery in Taos had others available if Gallery visitors wished to purchase his work. One of Reed's final open-handed acts turned out to be presenting the Greenoughs with his own artist's proof impression of Winter Sun(1967), which was included in that April print exhibition. Reed inscribed the aquatint gift, "To Charles and Margaret Greenough in appreciation."
Doel Reed died just a few months later, on September 30, 1985. His daughter Martha wrote to Margaret soon after, telling the Greenoughs of her father's death and enclosing a newspaper clipping of his obituary and a transcript of the memorial address given by Frank Waters (1902-1995), the well-known writer and great friend of Doel Reed. Martha concluded by relating, "We scattered his ashes in the Rio Grande Gorge - Where he had gone so often to sketch + draw, and the inspiration for so many of his aquatints."[12]
1 "Aquatint artist lays down tools," Taos News(Thurs,
3 Oct 1985): A2.
2 Don Laine, "Doel Reed An Artist for All Time," High Country Profile Magazinev.10, no. 3 (March 1985): 12.
3 Harry B. Cohen and Ann L. Rogers, Doel Reed, the Graphic Works, (Columbia, MO: Harco Gallery, 1998), 7.
4 Ibid.
5 Stables Art Center, exhibition brochure, "Doel Reed, N.A. A Retrospective Exhibition," January 12 - February 10, 1985, Taos, New Mexico.
6 Undated interview of Doel Reed, circa late 1970s, transcript page 11. Note: Reed took the press with him to Taos upon retiring, and the succeeding printmaking department chair, J.J. McVicker (1911-2004), was so used to Reed's press that he had the OSU carpentry shop build an identical one as replacement.
7 Susan E. Meyer, "Interview with Doel Reed," for American Artist,15 Aug 1977, transcript page 1
8 Ibid., 2.
9 Cohen and Rogers, 35.
10 Doel Reed, "Taos: an Art Colony," unpublished manuscript for talk given for opening of exhibition at the Gilcrease Museum, 1981: 15.
11 Ibid., 3.
12 Martha Reed to Margaret Greenough, 20 October 1985. Letter, archives of the Birger Sandzén Memorial Gallery, Lindsborg, Kansas.
About the author
Cori Sherman North is Curator at the Birger Sandzén Memorial Gallery.
Checklist
*C# refers to catalogue raisonne # in Cohen & Rogers' Doel Reed the Graphic Works, 1998
Dimensions refer to framed sizes
Birger Sandzén Memorial Gallery, Lindsborg, Kansas
1. Rooftops, ca. 1920, oil on canvas, 26 x 32 inches. Gift of Mrs. Mountcastle, 1976; 1900.0139
2. Untitled, ca. 1926, oil on board, 36 x 36 inches. Greenough Collection; 1900.0453
3. Summer Morning, 1935, oil on canvas, 25 x 30 inches. Greenough Collection; 2014.3281
4. Summer Landscape, 1937, oil on canvas, 30 x 34 inches. Greenough Collection; 2014.3282
5. Campo Santos, 1961, oil on canvas, 28 x 50 inches. Gift of Mrs. Mingenback, Mrs. M. Claire Miller, and Mr. and Mrs. Roland Jones; 1900.0455
6. Neighborhood Observers, ca. 1958, oil on canvas, 28 x 36 inches. Gift of Mr. Richard E. Bird; 1984.0643
7. Evening Repose, 1964, oil on canvas, 28 x 48 inches. Gift of Mr. Richard E. Bird; 1984.0642-1968 show
8. Thunderstorm, Late Afternoon, 1974, oil on canvas, 28 x 42 inches. Gift of Margaret Sandzén Greenough; 1900.0454
9. Geological History, ca. 1960, ink and crayon on paper, 15 x 23 inches. Gift in memory of Josephine James Moen, by her husband Virgil R. Moen, Minneapolis, Kansas; 1984.0652
10. Untitled [aka Paris Street Scene], 1929, aquatint etching, edition 9/50, 7 1/4 x 8 7/8 inches, C#14. Gift of Mrs. Mountcastle; 1900.0004
11. Afternoon, 1935, aquatint etching, edition 3/50, 10 3/4 x 12 7/8 inches, not in Cohen. Sandzén Collection; 2014.1810
12. Reclining Figure in Gallery, 1935, aquatint etching, edition 7/25, 10 3/4 x 12 7/8 inches, C#25. Sandzén Collection; 2014.3568
13. Mexican Kitchen, 1935, aquatint etching, edition 10/50, 10 3/4 x 12 3/4 inches, C#26. Sandzén Collection; 2014.3567
14. Coffin Maker's Shop, 1935, aquatint etching, edition 4/50, 10 7/8 x 12 3/4 inches, C#27. Sandzén Collection; 2014.0778
15. Oklahoma Barn, 1939, aquatint etching, edition 13/50, 10 7/8 x 12 7/8 inches, C#36. Sandzén Collection; 2014.1812
16. Spring, 1941, aquatint etching, edition of 200, 10 x 14 inches, C#44, Prairie Print Maker Gift Print 1941. Sandzén Collection; 2014.0633
17. Nude, 1943, aquatint etching, edition 8/25, 11 7/8 x 16 5/8 inches, C#46. Greenough Collection; 2014.3567
18. Evening After the Rain, 1940s, aquatint etching, edition 6/25, 10 1/2 x 15 inches, C#53. Greenough Collection; 2014.1811
19. House of the Bruja, 1953, aquatint etching, edition 13/25, 12 x 19 3/4 inches, C#83.1900.0138
20. Winter Sun, 1967, aquatint etching, artist's proof of edition 50, 11 x 19 5/8 inches, C#108. Greenough Collection, Gift of the Artist, 2014.1866
21. Canoncito Canyon, ca. 1968, pastel on paper, 14 3/4 x 21 1/2 inches. Gift of Jim and Virginia Moffett
22. Spring Along the Cimarron [aka The Cimarron], 1940s, aquatint etching, edition 6/25, 9 1/4 x 15 3/4 inches, C#52. Gift of Jim and Virginia Moffett
23. Figure with Landscape, 1953, aquatint etching, edition of 100 for The Society of the Print Connoisseurs of America, 10 x 15 inches, C#80. Gift of Jim and Virginia Moffett
24. Canoncito, 1967, aquatint etching, edition 10/25, 11 x 19 7/8 inches, C#106. Gift of Jim and Virginia Moffett
Collection of Pierson Gallery
25. On the Way to Llano Largo, 1970, casein on [paper], 11 1/4 x 20 1/8 inches. Lent by Pierson Gallery
Fred Jones Jr. Museum of Art, University of Oklahoma, Norman
26. Geological Time, 1960, casein on masonite, 10 1/2 x 23 1/4 inches, 2005.001.010. Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman; Gift of Jerome M. Westheimer, Sr., of Ardmore, Oklahoma, 2005
27. September Sun, 1939, aquatint etching, edition of 25, 9 7/8 x 15 3/4 inches, C#35. Gift of John O'Neil, 1965.xxxx
28. The Entombment, 1952, aquatint on paper, edition of 25, 12 1/3 x 11 1/8 inches, C#79. Gift of Tom Meaders, in memory of his father L.B."Preach" Meaders, OU Class of 1929, 2007.013.001
29. The Widow's Place, 1965, aquatint on paper, edition of 30, 11 1/2 x 17 1/2 inches, C#105. Gift of Tom Meaders, in memory of his father L.B."Preach" Meaders, OU Class of 1929, 2008.013.004
30. Rio Embudo Valley-Winter, 1968, aquatint on paper, edition of 25, 11 x 19 5/8 inches, 1982.003, C#109. Fred
Jones Jr. Museum of Art, The University of Oklahoma, Norman; Gift of the artist, 1975
31. Elements of Beauty, 1970, aquatint on paper, edition of 25, 11 1/2 x 18 5/8 inches, C#113. Gift of Tom Meaders, in memory of his father L.B."Preach" Meaders, OU Class of 1929, 2008.013.006
32. Pilar in the Canyon, 1983, aquatint on paper, edition of 25, 11 x 17 3/4 inches, C#140. Gift of Tom Meaders, in memory of his father L.B."Preach" Meaders, OU Class of 1929, 2009.013.002
Private Collection
33. Cimarron Hills, 1949, oil on canvas, 25 x 39
34. Canoncita, 1963, casein on paper, 17 x 28 inches
35. Untitled (Summer Evening in Taos), 1983, casein on paper, image 15 x 27 inches
36. Drawing for Winter Sun, ca. 1967, drawing on paper, 10 1/2 x 20 inches
37. Rio Embudo Valley - Winter, 1966, drawing on paper, 14 x 22 inches
38. Oklahoma Landscape [aka Evening Storm], 1940s, aquatint on paper, edition 1/25, 10 3/4 x 16 7/8 inches, C#50.
39. The Morada, 1956, aquatint on paper, edition 21/25, 10 7/8 x 17 3/4 inches, C#89.
40. Penitente Rococo, 1961, aquatint on paper, edition 1/30, 8 1/2 x 19 1/2 inches, C#100.
41. Old Church at Cundiyo, 1970, aquatint on paper, artist's proof edition 30, 10 1/4 x 17 5/8 inches, C#128.
42. Plate for Old Church at Cundiyo, 1970, zinc,
Private Collection
43. The Crucifixion, 1925, oil on canvas, 38 x 47. Private Collection
44. Untitled [Notre Dame], 1926, oil on canvas, 21 x 25 1/2 inches. (Martha said Paris studio had this view)
45. Acomita Village, 1939, oil on canvas, 20 x 24
46. Spring Storm, ca. 1945, oil on canvas, 30 x 40 inches. (OK scene, won Philbrook annual 1946)
47. Elements of Grandeur, ca. 1945, oil on canvas, 22 x 40 inches.
48. Woman with Rebozo, 1965, black crayon on paper, 28 1/2 x 21 3/4 inches.
49. A Land of Romance, ca.1925, etching, 3 3/4 x 5 inches. (not in C&R cat rais)
50. Elements of the Past, 1950, aquatint etching, ed. 17/25, 11 1/8 x 17 1/8 inches, C#73.
51. Plate for Elements of Beauty, 1970, zinc.
Collection of I.B. and A.M. Acrey
52. Oklahoma Landscape, Stillwater, 1932, oil on canvas, 24 3/4 x 20 1/2 inches.
53. Untitled [small figures picnicking], ca. 1930s, oil on canvas, 24 x 36 inches.
54. Untitled [Ruins], 1960, chalk/mixed on paper, 16 1/4 x 23 3/4 inches.
55. Untitled [Nude], 1968, mixed media on paper, 28 1/4 x 19 3/4 inches
56. Campo Santo, ca. 1970s, chalk on paper, 14 1/4 x 23 3/4 inches.
Private Collection
57. Sun and Walking Rain, 1975, aquatint etching, edition 24/30, 11 3/4 x 17 3/4 inches, C#129.
Collection of Kelly Knowlton
58. Untitled [rocks and trees], 1949, oil on canvas, 23 1/4 x 30 5/8 inches.
Private Collection
59. Osage Country, ca.1944, oil on canvas, 28 x 36 inches.
60. Untitled [New Mexico landscape], 1961,mixed media on blue paper, 12 1/2 x 21 1/2 inches
61. Day's End, 1950, aquatint etching, edition 3/15, 10 7/8 x 17 3/8 inches, C#71.
62. Summer Storm, 1973, aquatint etching, edition of 30, 10 1/2 x 17 1/2 inches, C#127.
Private Collection
63. Living Room, after 1958, o/c, 28 x 36 inches.
Private Collection
64. Evening Music, 1946, aquatint etching, edition of 100 for Associated American Artists, 15 3/4 x 11 inches, C#62.
Resource Library editor's notes:
The above essay was published in Resource Library on October 10, 2015 with permission of the author and Birger Sandzén Memorial Gallery, which was granted to TFAO on October 7, 2015. Resource Library wishes to extend appreciation to Cori Sherman North for her help concerning permission for publishing the above essay.
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