Summer 2025

C A R M E L M A G A Z I N E • S U M M E R 2 0 2 5 107 From 1957 until his death in 1991, Teague devoted his efforts exclusively to fine art paint- ing. He worked predominantly in watercolor, but returned to oil on occasion to paint still lifes and selected other works. Teague is remembered mostly for his Westerns, but his fine art paintings of Europe and Asia rank among his best—he was particularly fond of painting Spain, Italy and Normandy. Once his daughters were old enough to travel, yearly trips to Europe became the norm, and Teague continued to travel overseas well into his 80s. Teague enjoyed himself while traveling, but these were also working trips—he would sketch and take photos of interesting scenes, then paint what he had experienced when back in his Carmel studio. Teague was a highly-awarded and revered artist nationally and internationally. He received a number of awards from the National Academy including five gold medals. The AmericanWatercolor Society showered numer- ous awards upon him, as did Western art soci- eties such as the National Academy of Western Artists and the Cowboy Artists of America. Teague was one of few artists to be inducted into both the National Academy of Design and the Society of Illustrators Hall of Fame. Upon his passing, the Los Angeles Times namedTeague “the Dean of American Watercolorists.” Reflecting on his life and career, Teague said, “I’m the luckiest person I know. To think that I would be allowed to make a living at what I love best.” Regarding his legacy,Teague said,“As for questions of what I hope to leave behind, well, I’d settle for a light footprint. If the people who have bought my paintings enjoy having them as much as I’ve enjoyed doing them, we’re even.” Adopted out at birth, Scott Gale, M.D., is Donald Teague’s biological grandson. Gale has become the foremost authority on the art and history of Donald Teague, and he sits on the board of the Monterey History and Art Association. (Left) A 1963 photo by Steven Crouch of the Teague family at their Carmel post-adobe home. Verna, daughters Linda and Hilary, and Don. (Right) Teague in his studio. Teague only painted in his studio—he preferred the consistent light it provided. Program cover for 1974 Bing Crosby National Pro-Am, aka the “Clambake.” Photos: Courtesy of the Donald Teague Archive