At a crucial moment in the development of Texas art, an eccentric oil wildcatter form Massachusetts and Luling, Texas, turned to the prestigious San Antonio Art League with a proposal. He would fund a national art competition featuring the state's verdant fields of wildflowers and bring prominence to Texas art if the league would handle the details. Thus was born the Texas Wildflower Competitive Exhibitions, which in three years at the end of the Roaring Twenties awarded more than $53,000 in prize money for paintings of Texas wildflowers, ranch life, and cotton farming. This presentation of twenty-nine color plates of the competitions' best works includes paintings by such important artists as Jose Arpa, Dawson Dawson-Watson, Xavier Gonzalez, Edward G. Eisenlohr, and Oscar E. Berninghaus and Herbert Dunton (the latter duo having also served as founding members of the Taos Society of Artists). In the plates, the artists have portrayed a variety of landscapes and atmospheres to present the wildflowers loved not only by Davis but by generations of Texas art enthusiasts.

In this intricately interpretive narrative, Lawerence Goodwyn explores the notion of the American Dream through the eyes of the Texas wildcatter. Surprisingly, even before the outlines of the wildcatter come into focus, other vague but seemingly omnipotent actors occupy center stage: major oil companies. Goodwyn shows the relationship of individual and corporate enterprise in this study of the Texas Independent Producers and Royalty Owners Association.

This is a reprint of a previously published book. It profiles three generations of oil tycoons based in Texas.

Winner, 2019 Ron Tyler Award for Best Illustrated Book, sponsored by the Texas State Historical Association (TSHA) In this expansive and vigorous survey of the Houston art scene of the 1970s and 1980s, author Pete Gershon describes the city’s emergence as a locus for the arts, fueled by a boom in oil prices and by the arrival of several catalyzing figures, including museum director James Harithas and sculptor James Surls. Harithas was a fierce champion for Texan artists during his tenure as the director of the Contemporary Arts Museum–Houston (CAM). He put Texas artists on the map, but his renegade style proved too confrontational for the museum’s benefactors, and after four years, he wore out his welcome. After Harithas’s departure from the CAM, the chainsaw-wielding Surls established the Lawndale Annex as a largely unsupervised outpost of the University of Houston art department. Inside this dirty, cavernous warehouse, a new generation of Houston artists discovered their identities and began to flourish. Both the CAM and the Lawndale Annex set the scene for the emergence of small, downtown, artist-run spaces, including Studio One, the Center for Art and Performance, Midtown Arts Center, and DiverseWorks. Finally, in 1985, the Museum of Fine Arts presented Fresh Paint: The Houston School, a nationally publicized survey of work by Houston painters. The exhibition capped an era of intensive artistic development and suggested that the city was about to be recognized, along with New York and Los Angeles, as a major center for art-making activity. Drawing upon primary archival materials, contemporary newspaper and magazine accounts, and over sixty interviews with significant figures, Gershon presents a narrative that preserves and interweaves the stories and insights of those who transformed the Houston art scene into the vibrant community that it is today.

Meet the Frackers. George Mitchell, the son of a Greek goatherder, who tried to extract gas from rock that experts deemed worthless. He faced an unexpected obstacle in his quest to change history. Aubrey McClendon, the charismatic descendant of an Oklahoma energy dynasty, who scored bil­lions leading a land grab. He wasn't prepared for the shocking fallout of his discoveries. Tom Ward, who overcame a troubled childhood to become one of the nation's wealthiest men. He could handle natural-gas fields but had more trouble with a Wall Street power broker. Harold Hamm, the son of poor farmer, who believed America had more oil than anyone imagined. Hamm was determined to find the crude before others caught on. Charif Souki, the dashing Lebanese immigrant who saw his career crumble and his fortune disintegrate, leaving one last, unlikely chance for success. Mark Papa, the Enron castoff who panicked when he realized a resurgence of American natural gas was at hand: one that his company wasn't prepared for. Praise for The Greatest Trade Ever 'Simply terrific. Easily the best of the post-crash financial books.' Malcolm Gladwell 'The definitive account of a strange and wonderful subplot of the financial crisis.' Michael Lewis 'Zuckerman is a first-rate reporter who is able to explain the complexities of finance in layman's terms. At times, The Greatest Trade Ever reads like a thriller.' The New York Times

“Full of schadenfreude and speculation—and solid, timely history too.” —Kirkus Reviews “This is a portrait of capitalism as white-knuckle risk taking, yielding fruitful discoveries for the fathers, but only sterile speculation for the sons—a story that resonates with today's economic upheaval.” —Publishers Weekly “What's not to enjoy about a book full of monstrous egos, unimaginable sums of money, and the punishment of greed and shortsightedness?” —The Economist Phenomenal reviews and sales greeted the hardcover publication of The Big Rich, New York Times bestselling author Bryan Burrough's spellbinding chronicle of Texas oil. Weaving together the multigenerational sagas of the industry's four wealthiest families, Burrough brings to life the men known in their day as the Big Four: Roy Cullen, H. L. Hunt, Clint Murchison, and Sid Richardson, all swaggering Texas oil tycoons who owned sprawling ranches and mingled with presidents and Hollywood stars. Seamlessly charting their collective rise and fall, The Big Rich is a hugely entertaining account that only a writer with Burrough's abilities-and Texas upbringing-could have written.

A legend among oilmen, Tom Slick was an independent operator in the truest sense. His office was his buggy during his early days of wildcatting the Mid-Continent oil field around 1910. And even after great success brought him to posher surroundings in an Oklahoma City office suite, his style remained hands-on. His impromptu deals were often brokered on street corners and over the telephone in his typical laconic style. Well into the 1920s he was the last of a breed who had no stock holders or board members to answer to, and instead "worked out of his hip pocket." Slick's extraordinary rise paralleled that of the modern petroleum industry. He began his career in the oil fields of western Pennsylvania, the birthplace of the American oil business. Before 1910, he headed west, traveling with his father and brother to the fields of Kansas to work as contract drillers. Slick met with failure in these early years, as he moved on to Oklahoma in an attempt to locate oil. In 1912 he received the financial backing to drill one more well, which turned out to be the discovery well for the vast Cushing Field. This amazing success was followed by more discoveries of fields - a frenzy of acquiring, drilling, then selling that in 1929 culminated with Slick's sale of his Oklahoma holdings in the Prairie Oil and Gas Company - up until that time, the largest sale of oil properties by an individual. In this first biography of Tom Slick, Ray Miles fleshes out the man who, despite his legendary drive - and the high-profile nature of the oil business - was exceedingly private and withdrawn. Miles relies on newspaper accounts, court and business records, correspondence, and personal interviews with family, friends, and associates to render a portrait of one of the most successful and colorful, yet elusive, businessmen of his day.