St. Joseph (San José) Island, 8 miles east of the coast of Rockport, TX, is a sand barrier island in Aransas County. The St. Joseph Island Ranch, a stretch of land 19 miles long and up to 5 miles wide, was purchased by Richardson in 1936.
Richardson] enjoyed [San Jose Island] because he could go down there and get
away from everything and Perry [Sid’s nephew] liked that because he’d go down
there and he liked to fish and hunt. [Perry]
liked to go with Mrs. Bass and they spent a lot of time down there like Mr.
Richardson did…the Island was their pride and joy and he loved it.” – Carroll
Smith, Chief Draftsman for the Richardson/Bass Companies, as told through an oral
interview in 2006.
About six years after his island purchase, and with success
of producing oil wells providing the financial means, Richardson began
collecting fine art of the American West in 1942. These paintings filled the
walls of his office in the Fort Worth National Bank Building, his Fort Worth
Club suite, and his beloved home on San Jose Island.
Just like his island home, Richardson’s collection of paintings continued to be a source of enjoyment for him throughout his life as well. As he once stated, “I get a kick out of seein’ em around me.” After his death in 1959, the directors of the Sid Richardson Foundation considered ways in which Richardson’s collection might best be made accessible to a larger audience. Thus the development and opening in 1982 of what is today known as the Sid Richardson Museum.
Before these invaluable works of art were displayed in our
galleries, they were part of Sid Richardson’s everyday life, particularly at
his San Jose Island home. In 1947, photographer Maynard Parker took several
photos of the island home’s exterior and interior, which reveal intimate
portraits of each room and the paintings that grace their walls. For those who
have visited the Sid Richardson Museum, look through the photographs and see if
you can spot some familiar paintings!
Opening September 14, 2019, A Fortune in Oils: Sid Richardson’s Personal Collection is a special exhibition that honors Sid Williams Richardson (1891-1959), who left a legacy through his personal collection of western masterworks and the foundation he established in 1947. Woven through the letters, photographs, publications, and his beloved paintings on display is the story of a plain-spoken, unpretentious, and intensely private man whose wealth, earned principally from West Texas petroleum, enabled him to pursue his interests as a cattleman, philanthropist, and collector of paintings.
values instilled in Richardson while growing up in the small East Texas town of
Athens shaped his full and productive life. Born on April 25, 1891, he rose
from humble beginnings to become one of the wealthiest men in the country. But
it was his belief in hard work, coupled with his keen understanding of human nature,
that contributed the most to his success.
path to Sid’s fortune began in 1911. After the death of his father, “J.I.” —owner
of the largest peach orchard in Henderson County and trader of land and cattle—Sid
set out for the oil fields near Wichita Falls, Texas. He learned the oil business
from the ground up, and after a 20-year roller-coaster ride, emerged on top
with a big strike in the late 30s in the Keystone field of West Texas.
In April 1957, and with his fortune long established, Sid was described as the wealthiest man in America in the Ladies Home Journal. He had an estimated wealth of $700 million. Amongst those trailing Sid were: Arthur Vining Davis, Henry Ford II, Joseph Newton Pew, Jr., Howard Hughes, Clint Murchison (Sid’s good friend), Paul Mellon, August Busch, John D. Rockefeller III, and Robert Woodruff, with “a paltry $200 million.” Each man was described in the article as having the ability to size up people, and all were said to possess vision. Of Sid, the article stated, “Richardson, for instance, kept on prospecting for oil in an area where engineers said there was none. He was right.”
John B. Connally, Richardson’s legal advisor (and future Texas governor), described Sid as:
“a man of great courage, soft spoken, kind, sentimental, loyal to everyone who ever befriended him. He loved to create and build. He went broke two or three times, but he would persevere until he hit the big time in terms of oil and gas production. That didn’t change him though, he was a man of humble wants who got along with people of all walks of life. He was more at home with cowboys in a country café than he would have been in a fine restaurant in New York. He had an amazing instinct about people [with a] capacity for generating and maintaining real friendships. He didn’t seek notoriety. Everything he did, he did it quietly.”
Richardson’s generosity to individuals or institutions in need was made without fanfare, his philanthropy extending to gifts to college students, churches, schools, and hospitals. At Sid’s funeral, his friend the Reverend Billy Graham described Sid as having a heart as big as a washtub. “When he gave a gift, he usually wanted it to be anonymous. Many here today have been recipients of his thoughtfulness and kindness.” Today, the Sid W. Richardson Foundation continues to fulfill Sid’s vision through grants that help advance the missions of nonprofit educational, health, human service, and cultural organizations that serve the people of Texas.
With his fortune, Sid acquired several working ranches. He favored his time at San Jose Island, purchased in 1936, where he established a herd of purebred Santa Gertrudis. His concern to safeguard the Longhorn of early Texas history led to the establishment – with assistance from writer J. Frank Dobie and cattle inspector Graves Peeler – of a Longhorn herd for preservation; their progeny can be found at Fort Griffin, Texas. His interest in cattle and ranching also led him to join the Texas and Southwestern Cattle Raisers Association, and to serve on the executive committee of the Southwestern Exposition and Livestock Show.
As a man who spent his life around cattle and horses, Sid admired the paintings of Frederic Remington and Charles M. Russell. He began collecting paintings in 1942, hanging them in his island home and in his two-room suite in the Fort Worth Club. Paintings were principally acquired from the Newhouse Galleries in New York, from Bert Newhouse and his son, Clyde. A warm relationship developed. In a 1981 interview, Bert recalled that Sid was the “finest natural gentleman I ever knew.” Clyde recalled that Sid collected because he loved the paintings’ spirit of the West, and that he bought on a hunch, loving “the spirit of the chase”.
amassed one of the largest private collections of Western masterworks in the
country. He died on September 30, 1959, a bachelor, having never married. Art Shahan (Director of Livestock
Operations on one of Sid’s ranches) attended Sid’s funeral
and recalled that “Dr.
Graham said he was . . . visiting [once with] Mr. Richardson in his office and Sid
said, ‘Preacher, tell me about Heaven.’ And Dr. Graham was telling him
different things and Sid said, ‘What I want to know is – do they drill oil
wells up there?’”
Although Remington spent his childhood growing up in rural Ogdenburg, New York, as a young man he quickly made his way to New York City where he spent most of his career. As he matured, Remington divided his time between the city and the country, which in this case was his childhood home in a region of New York state that’s referred to as the North Country. By 1900, he had purchased an island in the North Country on the St. Lawrence River, an island he called Ingleneuk.
“I am in Chippewa Bay 10 miles below Alexandria Bay. Seven
miles wide here and blows like h- every minute. Got a dandy lumbered island – 6
acres- good house- kitchen outside – boat house – two docks and a hospital
tent. Its cool here all the while and I work summers. It was a good scheme
since no one can live in New [Rochelle] in the summer and work. It is cheaper
than travel and anyhow summer is no time to spend on cars…” Frederic Remington
to Julian Ralph, Summer 1900
Remington described Ingleneuk in his diary and to friends as
his “fortress of rest,” where he would spend his subsequent summers.
The artist loved his summers at Ingleneuk. Remington wrote to his friend John Howard February 1907, “Oh I am itching to get up on that Island. I look forward to it like a school boy. I want to get out on those rocks by my studio in a bath robe in the early morning when the birds are singing and the sun a shining and hop in among the bass. When I die my Heaven is going to be something like that. Every fellows imagination taxes up a Heaven to suit his tastes and I’de be mighty good and play this earthly game according to the rules if I could get a thousand eons of something just like that.”
his island handyman Pete Smith to paint the boat house “pea-green – sure enough
spring foliage – greenery-yellery you know.” And the artist had his friend John
Howard secure the paint. “D- you we will see how much an artist you are. I dont
want any Paris green poison color such as you had on your house but the real
touch of the April showers – now do you understand?”
What was it like with Remington on the island? In the October 1907 issue of Pearson’s Magazine, reporter Perriton Maxwell describes the scene:
“It is given to few men to live Crusoe-like on an island all
their own; but Remington besides possessing his own island has augmented the
boon with a substantial cottage, studio and outbuildings and lives part from
the herding crowd like a feudal lord of old. You cannot possibly disturb him at
his work; you could not even located this ‘Ingleneuk’ unless piloted to it.
There are only five acres of it, but it is an impregnable stronghold and is, as
the artist himself describes it, ‘the finest place on earth…’ Here Remington
works all summer… I asked him for a photograph of the house at ‘Ingleneuk.’
‘Bless your soul,’ he replied, ‘it couldn’t be photographed at any angle; it is
solidly screen from view on all sides by the densest growth of trees along the
The house fell to fire in later years but the studio, now a
cottage, still stands.