Martha houston paintings

It was a really great group of people. I guess I was sort of in a hurry. That weekend happened to be when I was invited to go goose shooting with David Wintermannat his fabulous estate.

Jack was my first artist in that field — it opened all kinds of doors for me. People who are ranchers and landowners and so forth are interested and like to look at paintings — good paintings, good watercolors — showing all kinds of shooting in Texas. Big break. Long : The first big painting I sold in Houston was to Mrs. I lived right over here on Locke Lane. She was serious and quiet. But she wanted to buy some art. I interested her in some paintings, one of which hangs on our wall at home, a Sargent.

She was on about three major committees in the museum at this point. She should be. She is just very good at what she does. She really works at it like a job … Cornelia and I spend a great deal of time together, and with out children, and now grandchildren and a great grandchild. Family is very important. I also spend time with my sons and sons-in-law, taking them hunting.

On giving back. Long : You just have to become a part of the community. I supported activities, and I underwrote what I could and did what I could to help make it work … With the Alley Theatre, Patty Hubbard got me in that … Sure enough, I got to know a few people, and I got them to step it up, and we ended up changing directors, of course, as you know — not without some commotion — and now we have Greg Boyd.

I went in there one day to get checked out. You know that [aneurysm in the aorta] could burst. That could kill you. Denton Cooley. That was about 20 years ago. On dogs, hunting, fishing, and outdoor life. Long : When I got to Houston, shooting was a big thing, and if you wanted to get acquainted, you better get your shotgun out and get to know these people. Which were all great guys.

And I got leases, dogs, cars, wagons, everything it takes. I got five of every kind of jacket. Martha will tell you; she grew up in the middle of it. Why sporting art matters. Long : Sporting paintings are depicting a way of life that has disappeared in the state of Texas.

You see more and more houses, and this means less and less game. I used to be able to stand in my backyard here, one block over, and hear the geese at night. No more geese, no more anything. Cowan, Booth, and Barnes. They knew it, and they loved it, and they documented it.

On collecting. Long : I had to be very careful that I was not exceeding my clients. You let the clients pick first. Art-world relationships.

Long : Fayez Sarofim was one of my first guys. He and I were about the same age and sort of at the same stage. We became friends, and we still are. I sold him a Childe Hassum. Fayez has a very distinct personality, and I guess I do too.

He made a contribution. He became a great collector of American art. Sarofim is the only businessman of magnate status who has important paintings in his office. Alfred Glassell was a person unto himself. He was a great friend to me. We just had a great time, and a lot of that still goes on in Houston. Helen Frankenthaler was considered a very formidable woman. It was a whole school. David Wintermann was an emperor of Eagle Lake, and he had all these rice fields.

Wintermann and I got along fine, and so I got plenty of invitations to go shooting with him. Boldest moves. Long : I was audacious enough to start a lecture series, and it was about once a month.

Blaffer came. I was at Highland Village at the time. I had never seen such a line of cars. Full of Cadillacs. They would all come here to see a whippersnapper talk about some art. The guy from the museum in Paris came to see the show.

The whole thing began to mushroom, and at one point, I had three galleries in New York. Yeah, and I did go to L. On contemporary art. I ought to try to do something for these people too. One painting illustrates the flowers growing and the other shows them in a vase.

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