Lot of 3 fine art works: Jane Mauldin, Ray George, Linda Lake Jane McCarty Mauldin (Oklahoma, 1936 - 1997), abstract landscape with face, watercolor on paper. Signed lower right. Biography from Wyld.Gallery: Jane McMarty Mauldin (1936-1997) was a Choctaw artist who exhibited her work from 1963-1997. She won more than 100 awards for her work and was designated a Master Artist by the Five Civilized Tribes Museum in Muskogee, Oklahoma. Mauldin’s works can be found in the permanent collections of the Heard Museum, the Heritage Center of the Red Cloud Indian School, and the collections of the United States Department of the Interior. Mauldin worked in various artistic styles, using acrylic, collage, ink, pencil, oil, and watercolor. Her early works tended toward photorealism, but later in her career her work followed more modern free-flowing trends. She exhibited at the First Annual Invitational Exhibition of American Indian Paintings hosted by the United States Department of the Interior in Washington, D.C. Mauldin also participated in the National Indian Woman’s Art Show, which took place in Washington, D.C. in 1980. The following year, she participated in the Kennedy Arts Center’s Night of the First Americans exhibition. Mauldin described her process as follows: “I usually paint at night – a habit I developed over the years – when the house is quiet. I have no preconceived idea of where I’m going; using enhancement to bring forth the major structure of the painting.” Ray George (American, 1933 - 2005), Landscape, 1966, engraving. Pencil signed, titled, dated and numbered 8/8. Biography from DecaturArts.org: Ray was an exceptional, inventive artist, always willing to try anything in his artwork, and innovative in both process and concept. Drawing was a pivotal activity in all of Ray’s artmaking. The invention of the graphite technique for lithography is a perfect example of how Ray used his drawing sensibility to develop a way to work in lithography without employing grease-based drawing materials. In addition, he drew with light, using cliché-verre techniques. Ray also invented his own form of the collagraph. In one process, he attached silk mesh to four-ply poster board and used thin layers of acrylic medium to build the light tones from a dark field. In a related process, he used Plexiglass sheets, sandblasted them for multi-valued grays when printed, and created various light passages in the printing elements by applying layers of melted Styrofoam. Ray was also a fine etcher and very knowledgeable about serigraphy. Born in 1933 in Cedar Falls, Iowa, Ray earned his B.A. and M.A. degrees from the University of Northern Iowa (1955 and 1962.) He began his teaching experience at Dubuque Senior High School, Dubuque, Iowa. Subsequently he taught in the following capacities: Lecturer in Art, Printmaking, Clarke College, Dubuque, Iowa; Instructor and Critic Teacher, Laboratory High School, Indiana University; University of Northern Iowa; Assistant Professor of Art, University of Nebraska; Professor of Art, Center for the Visual Arts, Illinois State University, teaching drawing and printmaking. In 2001, he accepted his final teaching position as an instructor of drawing at Millikin University. Ray loved art, and studied it constantly by making trips to museums and galleries, buying and reading books, and collecting art. Ray applied all of this knowledge in the classroom in one form or another, helping enrich his students’ education further. As a teacher, Ray was committed to his students. He stood alongside serious students, even at times when classes were not scheduled, to help them learn how to print editions properly and efficiently. Ray’s drawing composition class was one of the finest. In that class, he focused on teaching students how to organize both representational and abstract imagery on a two-dimensional picture plane, understanding the difference between pictorial and illusionistic space. This class was popular among undergraduate students from varied disciplines. Ray had a remarkable work ethic and served as a role model for his students and colleagues alike, with intense studio activities, sending work to exhibitions, and providing workshops around the country. He was a generous person who was eager to share his time, talent, and knowledge. Linda Lake (20th century), Flower, 1971, lithograph, artist's proof. Pencil signed, titled, and dated lower. 3" H x 3" W (sight), 15 3/4" H x 13 3/4" W (frame); large