LEGACY COLLECTION | Acquired Artworks

The memorial commemorates the British civil engineer credited with saving over a dozen lives from the tragic 1890 fire that consumed the Texas Spring Palace. Hayne, the sole fatality, died from injuries sustained in the fire. In 1893, the Women’s Humane Association commissioned Lloyd Bowman to create a memorial monument including a marble portrait bust and working fountain. Evaline Sellors’ bronze bust replaced the original when the monument was relocated and restored in 1934.

A native of Kentucky, John Peter Smith migrated to Fort Worth in 1853. Following the Civil War, Smith was instrumental in the development of the City and he helped organize schools, banks, a gas light company, and the Fort Worth Street Railway Company. His success as a businessman allowed him to become a prominent landowner and member of society and he eventually amassed thousands of acres of land. Elected mayor in 1882, he served six terms.

Wyatt C. Hedrick and Elmer G. Withers' architectural proposal for the Texas Centennial celebration of 1936 illustrates the classical revival and modern building styles found today in the Will Rogers Memorial Complex. In addition to the coliseum, auditorium, and memorial tower two auxiliary buildings - a casino / banquet hall and a merchants / automobile exhibit hall are featured but were never realized. Hedrick was one of Fort Worth's most prolific architects between 1920 and 1960.

Designed and fabricated under the direction of local architect Herman Koeppe, the ceramic tile friezes over the Will Rogers Coliseum and Auditorium were reputed to be the largest set of tile paintings in the world when they were completed in 1935. Each mosaic is composed of 1,606 hand-painted tiles. Beginning with Spanish exploration of the New World until 1936, the murals depict the economic and cultural heritage of the southwest and Texas.

Designed and fabricated under the direction of local architect Herman Koeppe, the ceramic tile friezes over the Will Rogers Coliseum and Auditorium were reputed to be the largest set of tile paintings in the world when they were completed in 1935. Each mosaic is composed of 1,606 hand-painted tiles. Beginning with Spanish exploration of the New World until 1936, the murals depict the economic and cultural heritage of the southwest and Texas.

Waggoner’s life-size sculpture, commissioned by Will Rogers’ longtime friend Amon G. Carter, depicts the American cowboy humorist on his favorite horse, Soapsuds. The sculpture, commissioned following Roger’s death in a plane crash, was completed in 1939 but stored until a suitable dignitary could do the honor of unveiling it. General Dwight D. Eisenhower dedicated the sculpture in 1947 while President Truman’s daughter, Margaret, sang.

Six hand-painted, glazed tile friezes above the entrances of the historic Livestock Exhibition Barns at the Will Rogers Memorial Complex depict farm animals in pastoral scenes. Four cattle mosaics and single mosaics showing sheep and swine indicate the use for each building. Designed by Kenneth Gale, long-time artistic director at the Mosaic Tile Company, they murals were installed in 1936.

Six hand-painted, glazed tile friezes above the entrances of the historic Livestock Exhibition Barns at the Will Rogers Memorial Complex depict farm animals in pastoral scenes. Four cattle mosaics and single mosaics showing sheep and swine indicate the use for each building. Designed by Kenneth Gale, long-time artistic director at the Mosaic Tile Company, they murals were installed in 1936.

One of Fort Worth's most influential sculptors, Charles Williams has long been recognized for his innovative exploration of abstract form and inventive use of new materials. Solar Disc, created late in the artist's career, was fabricated from industrial stainless-steel discs. The two opposing convex circles are carefully calibrated to emphasize a sense of depth and introduce the element of balance. Reflecting light from all directions, the spheres radiate a dynamic flow of energy that evokes celestial associations.

The bronze relief represents a period of exciting technical innovation in bronze casting by Fort Worth artists at mid-twentieth century. An apprentice to Charles Williams (in 1961), Ed Storms developed a facility for transferring the freedom of gestural abstraction to the medium of sculpture. Vision of the Third Eye exemplifies his improvisational manner of making sculpture and in its energetic, organic quality he reveals his fascination with the writings of Lewis Carroll.

Noted as one of the world's foremost kinetic sculptors, Rickey’s mobiles are set in motion by natural forces. Twelve Triangles Hanging is a beautiful example of Rickey's restrained design in which raw materials are highlighted and surfaces are aggressively burnished to reflect ambient light. The site-specific sculpture was partially funded by a grant from the National Endowment for the Arts.

The only surviving example of a 1974 �"Art in Public Places” initiative in Fort Worth, the Zipper Mural refers to the building’s original occupant work clothing manufacturer Williamson-Dickie. The painted mural originally featured a cloud scene, but a well-intentioned but poorly executed repainting in the late 1990’s was a failure. In 2005, Gentling was to redesign the skyscape when he died suddenly. Gentling’s sister, Suzanne, a recognized artist, completed the project. Her single, standing feather symbolizes Stuart’s keen interest in avian art.

The life-sized bronze sculpture honors Fort Worth businessman, philanthropist, and civic leader Charles Tandy. Strategic marketing and diversification transformed the Tandy family wholesale leather business into the world largest retailer of consumer electronic products. When Tandy died in 1978, Tandy Corporation was a billion-dollar multinational corporation, headquartered in downtown Fort Worth. The sculpture is on loan to Texas Christian University.

Spring Ballet is a delightful example of Harvey's realistic sculptures. Capturing the essential nature of animals and plants by knowing his subject matter intimately and often modeling in place, Harvey, a self-taught artist, lived and worked in the Brandywine Valley in Pennsylvania, where he had easy access his subject matter. His successful four-decade career includes an extensive body of work included in numerous public and private collections. Harvey died in 2018.

ByrantÃ�'Æ'¢Ã�'¢â€�...¡Ã‚¬Ã�'¢â€�...¾Ã‚¢s life-size bronze sculpture features Midnight, a Ã�'Æ'¢Ã�'¢â€�...¡Ã‚¬Ã�'…â€�..."black as coalÃ�'Æ'¢Ã�'¢â€�...¡Ã‚¬Ã�'‚ champion bucking horse, and an unfortunate bronco rider. Known for his early surly behavior, Midnight developed a reputation for being unrideable over his decade-long career and only nine riders are reported to have stayed in the saddle for more than a few seconds. Bryant is known for his faithful representation of Western cowboy culture.

Duty illustrates the sacrifices and tragedy of war as told in a famous war poem titled �..."In Flanders Fields” by physician Lieutenant-Colonel John McCrae. Written during World War I, it became one of the most quoted poems and is often associated with Veteran’s Day. The representational sculpture was commissioned for Veterans Memorial Park, near the original command headquarters of Camp Bowie, where the 36th Army Division trained during WWI.

Bill Pickett is credited with inventing the technique of bulldogging, a modern rodeo event that involves wrestling a running steer to the ground. Commissioned as a Texas Sesquicentennial project, Perry’s life-sized sculpture is a thrilling depiction of the interaction. A descendant of American Indians and black slaves, Pickett was the first African-American to be included in the National Cowboy Hall of Fame.

Dominguez’ untitled mural uses representational symbols to tell the narrative history of Fort Worth. Reading the colorful mural like a book from left to right the story begins with the fort on the river and features cultural, economic, and transportation themes, devices that underscore the artist’s interest in education and inclusivity. He artwork often dealt with change and the transitory nature of life. He died in 2014.

Bryant’s Spirit of Woman is a figurative sculpture depicting a pioneer woman calling her family in from the fields. A self-taught artist, Bryant was known for his representational style and authentic western aesthetic. He died in 2012.

Three bronze mythological water nymphs are sited at the entrance to the Fort Worth Garden Center. The installation was donated to the City of Fort Worth in honor of Carin Koslow by the Fort Worth Garden Club, and Koslow’s family and friends.

Two sculptural water features by Fort Worth artist Gene Owens flank the entrance to the Deborah Beggs Moncrief Garden Center. A pioneer in modernist sculpture techniques, Owens is well known for his association with the Fort Worth Circle, as well as his apprenticeship with Isamu Noguchi. Composed of hand-formed ceramic blocks, Runnels is an excellent example of the artist’s material dexterity and restraint. Subtle and playful, each of the monochromatic fountains terminate dramatically in sunken tile basins.

to be alongside me represents Powell’s dexterity and facility in working with clay. Manipulating the natural characteristics of a traditional material he explores abstracted shapes and the power they take in natural spaces like the Beggs Garden. Frequently inspired by the peculiarities found in plants, animals, and natural phenomena, Powell strives to find a subtle balance in figurative and non-figurative elements.

Sellors’ charming larger-than-life amphibian sits on a lily pad in the Fragrance Garden pool at the Fort Worth Botanic Garden. A Fort Worth native, Sellors is credited with helping to establish the Fort Worth School of Fine Arts in 1932. Her students would later become important promoters of modern art and prominent artists known as the Fort Worth School.

Sellors' four bronze relief sculptures feature naturalistic vines, leaves, small animals and birds. Primarily known as a sculptor, she worked in ceramics, mosaics, and stained glass. She was an influential teacher and was instrumental in helping to establish the Fort Worth School of Fine Arts which produced a number of talented young artists who later formed the prestigious �"Fort Worth School”. A prolific artist, Sellors’ work can be seen in many public collections in Fort Worth.

Bryant’s bronze sculpture commemorates Comanche Chief Quanah Parker. Parker was the son of Chief Peta Nocona and Cynthia Ann Parker, an Anglo-American kidnapped as a child and assimilated into the tribe. Quanah Parker, following years as a full warrior and aggressive and fearless fighter, became the principal chief for all Comanche. In 1909, Parker and 38 members of his tribe rode in full regalia as part of what is now known as the Fort Worth Stock show and Rodeo.

Sited at Fire Station #2, the City's oldest operating fire station, Save the Future depicts a firefighter rescuing a small child. The statue was dedicated in honor of the 100th anniversary of professional firefighting

Powell’s site-specific sculpture installation refers to the El Corte stone ruins on the south bank of the Trinity River. The derelict remnants are believed to have been part of an early Hispanic community settlement for migratory workers. Acknowledging the absence of human presence, Powell uses formal elements, seven granite blocks acting as a continuation of the long stairwell connecting the city with the river, and a gently abstracted vertical element to refer to the passage of time.

An excellent representation of Jack Bryant’s figurative work, the life-sized memorial sculpture depicts John Justin, styled as �..."the Chairman”, on his favorite mount. Justin served as Mayor Pro Tem in 1959 and 1960 and Mayor from 1961 to 1963 before he was elected as Chairman of the Board of the Fort Worth Stock Show and Rodeo in 1982. He was admired around the world for his work in preserving western cowboy culture and was inducted in the Cowboy Hall of Fame, the Pro Rodeo Hall of Fame and the Texas Business Hall of Fame.

Guelich’s representational style illustrates his love for nature, particularly birds. A noted wildlife artist and an ardent student of the unique characteristics in animal biology and behavior, his sculptures can be seen in zoos, parks, and private collections throughout the United States. Sited in a small pond, a natural habitat for the migratory heron, Fishing Rock shows the four birds in a feeding formation, on the edge of shallow water waiting patiently for prey.

Schoepp’s interest in materials and their latent potential plays into the curious construction of Bench. Intersected by eleven bullet-shaped forms that act as legs, the bench does not easily invite comfortable seating, but engages the visitor to consider form, function, and visual appeal. The sculpture was created during the 1999 Sculpture Symposium sponsored by the Arts Council in partnership with the Parks Department and donated to the city by the artist.

Hand carved and sanded from a single piece of limestone, Bull is composed of both geometric and amorphous forms. Situated close to the ground, the piece recalls the connection between livestock and agriculture. The sculpture was carved at the conclusion of the 1999 Sculpture Symposium that was sponsored by the Arts Council of Fort Worth and Tarrant County; and Powell later donated it to the City of Fort Worth. It is now part of the Fort Worth Public Art Community Legacy Collection

Chiseled onto one side of the monolith is local animal life, and on the other is a pictographic representation of both natural and cosmic elements: sun, moon, stars, and water. This combination unites the botanical garden of the site with the cosmic garden of the sky to create a form that bridges worlds.

Hats, a whimsical installation of five limestone sculptures by Fort Worth-based artist Cameron Schoepp, was created during the 1999 Sculpture Symposium, an Arts Council of Fort Worth and Tarrant County initiative that started city-wide conversations about public art. For over a decade, the installation was sited in General Worth Square in downtown Fort Worth. It was relocated to the Cultural District in 2013 where it complements the classic modern architecture of the Neil Ford designed building that houses the Fort Worth Community Arts Center.

Created during the 2000 Sculpture Symposium in Fort Worth, Pollen, is a seven-piece sculpture made from Texas Granite and Terrazo. This was Shoepp's second year to participate in the Sculpture Symposium, an event that brought awareness to the need for public art and gave the public the chance to interact and understand the processes of the artist. These seven pieces, displayed at the main entrance of Fort Worth Botanical Gardens and the BRIT, are multi-sided objects suggesting a theme many North Texans are familiar with, pollen. Pollen interacts with its environment physically and figuratively as it spreads itself in nature.

This work was created in 2001 for the Fort Worth Garden Club, and is permanently located in the Fort Worth Botanic Garden in Fort Worth, Texas. The lyrical imagery sculpted in bas-relief cheerfully alludes to the happiness and beauty of the garden environment.

The John F. Kennedy bronze sculpture is part of a permanent interpretive exhibit and plaza sited in General Worth Square in downtown Fort Worth. Created by Texas artist, Lawrence M. Ludtke, a National Sculpture Society Fellow recognized for his portrait and figurative work, the sculpture commemorates Kennedy's last day in the City of Fort Worth.

Marie's Bench commemorates the life of Marie Key Dulaney Pullen (1946-2005), whose advocacy for arts in education benefited thousands of Fort Worth Independent School District students. A great supporter of local artists, Pullan's inspiration sparked collaboration amongst her closest friends resulting in this site-specific artwork. Polished granite shapes mirror patterns of sunlight coming through the overhanging trees and two interlocking benches suggest the strength and intimacy of companionship.

Here she stood is composed of three carved limestone elements, created as part of the 1999 Sculpture Symposium held at the Botanic Gardens as a site-specific artwork for Capps Park. Of the three elements, one signifies an abstracted standing figure along with two smaller pieces that establish the space for the viewers.

Girl Scout Nichibei Yuko-no Kizuna (The Friendship Bond of US-Japan Girl Scouts) is a diptych comprised of two mixed media paintings, each symbolizing international friendship. The artist employs oil and acrylic paints in addition to silver and gold leaf applications.

The painting features the high mountain desert landscape near Abiqui, New Mexico, second home to the artist, and is a study of a complex and expansive natural environment, with a commanding foreground and distant mesa skyline. Infused with ephemeral movement and subtle color, the painting explores themes of time and memory, subjects that have captivated the artist over a forty year career.

Tabachin Ribbon, by Yvonne Domenge, is one of four pieces from the series 'Interconnected: The Sculptures of Yvonne Domenge.' This 13 foot in diameter carbon steel sculpture, an abstracted representation of the Tabachin Tree found in Mexico, was donated to the City of Fort Worth in 2014 after a temporary exhibition in Chicago's Millennium Park. Yvonne Domenge, an internationally acclaimed sculptor and artist, describes her work as being fluid and alive and representative of nature. This elegant artwork brings together organic forms and man-made objects in its final home in front of Fort Worth City Hall.

The figurative bronze sculpture of a human and a dog (5 feet in height x 3 feet 5 inches in width x 2 feet 5 inches in depth) celebrates the special relationship between people and their animal companions and encourages pet adoption.

Mick Doellinger spent many years as a taxidermist in his homeland of Australia. Now, he sculpts animals at his studio in Fort Worth. A large dog moving forward in pursuit with all the senses of alert, K-9 Service honors all canine officers who have served the Fort Worth Police and Fire Departments. The sculpture is on view in the K9 Cemetery at the Bob Bolen Public Safety Complex.

A life-size bronze statue, this bronze sculpture depicts Red Steagall on horseback gesturing to passers-by. Mr. Steagall is an active member in the local community, an American actor, musician, poet, and stage performer who focuses on American western and country music genres. The artwork celebrated the 29th year of the Red Steagall Cowboy Gathering, honoring the man who started it all.

Buster Welch (born 1928) is a cutting horse trainer and inductee into the National Cutting Horse Foundation (NCHA) Members Hall of Fame, American Quarter Horse Hall of Fame, National Cutting Horse Association Riders Hall of Fame, and the Texas Cowboy Hall of Fame. He was a recipient of the 2012 National Golden Spur Award for his "outstanding contributions to the ranching and livestock industry." This bronze sculpture by Weatherford-based artist Kelly Graham was commissioned by the NCHA Foundation and donated to the City of Fort Worth. The artwork serves as a fitting tribute to Mr. Welch and as a reminder of the century-old relationship between the sport of cutting and the City.