Category Archives: Curator’s Corner

The Island Collection

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.

Exterior, Sid W. Richardson Residence | MAYNARD L. PARKER (1900-1976) | ca.1947 | Courtesy of The Huntington Library, San Marino, California

“[Mr. 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!

Interior Dining Room, Sid W. Richardson Residence | MAYNARD L. PARKER (1900-1976) | ca.1947 | Courtesy of The Huntington Library, San Marino, California
William R. Leigh | Bears in the Path (Surprise) | 1904 | Oil on canvas | 21 1/8 inches x 33 1/8 inches
William R. Leigh | The Hold Up (The Ambush) | 1903 | Oil on canvas | 32 3/4 inches x 22 3/4 inches
Living Porch, Sid W. Richardson Residence | MAYNARD L. PARKER (1900-1976) | ca.1947 | Courtesy of The Huntington Library, San Marino, California
Frederic Remington | The Unknown Explorers | 1908 | Oil on canvas | 30 inches x 27 1/4 inches
Interior Living Room, Sid W. Richardson Residence | MAYNARD L. PARKER (1900-1976) | ca.1947 | Courtesy of The Huntington Library, San Marino, California
Charles M. Russell | Buffalo Hunt | 1901 | Oil on canvas | 24 1/8 inches x 36 1/8 inches
Interior Bedroom, Sid W. Richardson Residence | MAYNARD L. PARKER (1900-1976) | ca.1947 | Courtesy of The Huntington Library, San Marino, California
Herbert Herget | Arapahoe | c. 1930 | Watercolor and gouache on paper | 17 7/8 inches x 12 1/2 inches
Interior Bedroom, Sid W. Richardson Residence | MAYNARD L. PARKER (1900-1976) | ca.1947 | Courtesy of The Huntington Library, San Marino, California
Charles M. Russell | The Marriage Ceremony (Indian Love Call) | 1894 | Oil on cardboard | 18 1/2 inches x 24 5/8 inches
Frederic Remington | A Sioux Chief | 1901 | Pencil and pastel on composition board | 31 7/8 inches x 22 7/8 inches
Charles M. Russell | Cowboy Sport – Roping a Wolf | 1890 | Oil on canvas | 20 inches x 35 3/4 inches
Interior Bedroom, Sid W. Richardson Residence | MAYNARD L. PARKER (1900-1976) | ca.1947 | Courtesy of The Huntington Library, San Marino, California
Charles M. Russell | There May Be Danger Ahead (Hunting Party on Mountain Trail) | 1893 | Oil on canvas | 36 1/4 inches x 22 inches
Interior Bedroom, Sid W. Richardson Residence | MAYNARD L. PARKER (1900-1976) | ca.1947 | Courtesy of The Huntington Library, San Marino, California
Frederic Remington | The Sentinel | 1889 | Oil on canvas | 34 inches x 49 inches
Charles M. Russell | Seeking New Hunting Grounds  | ca. 1891 | Oil on canvas | 23 3/4 inches x 35 7/8 inches

A Fortune in Oils

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.

Peter Hurd, Portrait of Sid Richardson, 1958, Tempera on panel, 32 x 48 inches

The 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.

Google Maps pointing out Athens, TX in relationship to Dallas & Fort Worth, TX.

The 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. 

Keystone Field, Derricks and Sand Dunes | ESTHER BUBLEY (1921-1998) | November 1945

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.”

John Connally, Sid Richardson, Lyndon Johnson, Fort Worth Chamber of Commerce Dinner, 1957. Courtesy, Fort Worth Star-Telegram Collection, Special Collections, The University of Texas at Arlington Library, Arlington, Texas.

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.

Edgar Deen, Ernest Allen, W.R. Watt, and Sid W. Richardson at Northwoods Farm (detail) | September 13, 1947 | Fort Worth Star-Telegram Photograph Collection, Special Collections, University of Texas at Arlington Libraries, Arlington, Texas | 10002301 AR406-6

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”.

Living Porch, Sid W. Richardson Residence | MAYNARD L. PARKER (1900-1976) | ca.1947 | Courtesy of The Huntington Library, San Marino, California

Sid 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?’”

Since 1982, Sid’s paintings have been displayed at the Sid Richardson Museum. The Museum is supported by the Sid W. Richardson Foundation, which has added four paintings to the collection: The Dry Camp, Among the Led Horses, The Love Call, and The Apaches!.

Welcome in. “Uncle Sid”, as we like to call him, would be pleased you are with us today.

Sid Richardson Museum | Photo Courtesy of Keith Barrett

Remington’s Fortress of Rest

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.

Chippewa Bay, Frederic Remington Art Museum

“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.

Remington loafing at Ingleneuk, 1902, Frederic Remington Art Museum

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.”

Our current exhibit, Another Frontier: Frederic Remington’s East, features several paintings depicting parts of his island, like his studio and boat house.

Ingleneuk Studio (Ingleneuk Island, Chippewa Bay), Frederic Remington Art Museum
Frederic Remington | Remington’s Studio at Ingleneuk | 1907 | Oil on canvas board | Frederic Remington Art Museum, Ogdensburg, NY
Old Dock (Ingleneuk Island, Chippewa Bay), 1903, Frederic Remington Art Museum
New Dock (Ingleneuk Island, Chippewa Bay), Frederic Remington Art Museum
Frederic Remington | Boathouse at Ingleneuk | ca. 1903 – 1907 | Oil on academy board | Frederic Remington Art Museum, Ogdensburg, NY
Ingleneuk, Photo Album, (Pete Smith, Inleneuk Island caretaker) Frederic Remington Art Museum

Remington requested 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 St. Lawrence.’”

The house fell to fire in later years but the studio, now a cottage, still stands.

Ingleneuk Photo Album (Remington in front of Studio, Ingleneuk Island, Chippewa Bay), Frederic Remington Art Museum