Ina Annette, Rock Candy Mountain, Utah

Ina Agnes Annett (1901 - 1990)

Rock Candy Mountain, Utah, 1931

watercolor

9 x 13 inches

Retail Price $1,450

Sale Price $1.250

 

Influenced by her association with Georgia O’Keefe, Ina Annett (Annette)  (1901 – 1990) embraced modernism in her portrayals of the American Southwest.  She is listed in many publications, including Women Artists of the American West.  In this depiction of the southern Utah geological feature made famous by Wallace Stegner’s autobiographical novel Big Rock Candy Mountain, Annett employs semi-abstraction and deft brushwork to create a flowing, almost sinuous portrayal.

Wulf Barsch, utah artists, utah prints, David Dee Fine Arts

Wulf Barsch (1943 - )

untitled, 1986

lithograph (framed)

22 x 20 inches

Retail Price $400

Holiday Sale $300

Hopi Katzinas, woodblock print

Gustave Baumann (1881 - 1971)

Hopi Katzinas, 1925

Color woodblock print, 38/120, First Printing

12.25 x 13.25 inches

Signed in pencil and titled with artist's hand-in-heart ink stamp

Retail Price $19,500

Holiday Sale Price $18,500

 

"From his first years in New Mexico, Baumann was interested in traditional Pueblo and Hopi dolls and figurines, whose craftsmanship and childish delight combined with deep cultural significance in ways the artist found enchanting.  He collected them avidly and became knowledgeable about their forms, decorations, and meanings.  Among those he collected were the popular Kachina dolls, the representations of deified ancestral spirits (also called Kachinas) the Hopis believe periodically visit and effect our world.  In Hopi rituals conceived to summon these spirits encourage their intercession - particularly for beneficial weather and bountiful hunts and harvest - dancers impersonate the Kachinas with vivid symbolic costumes and by performing specific dance steps.  Traditionally during these ceremonies Kachina dolls are presented to the children.  Carved from cottonwood roots to the children.  Carved from cottonwood roots or branches, the dolls are gaily painted and decorated with buckskin, horsehair, and feathers. 

 

The first woodcut representing Baumann's budding doll collection was Strangers from Hopi Land created around 1920.  Judging from the number of times he submitted it for exhibition, he was proud of this print.  A more ambitious piece, Hopi Katzina suggests how extensive the artist's collection of dolls had become by about 1925, and how the artist delighted in their every detail.  The composition is simple and uncluttered, so as not to detract from the dolls' splendid ornamentation.  The technical complexity of this print is outstanding, with its myriad colors and intricate designs.  This woodcut precisely reproduces the artist's oil painting, now at the Museum of New Mexico, which is titled on the canvas "Pasatiempo."  Like the artists of Santa Fe who organized and celebrated the annual Pasatiempo fiesta, Baumann's Kachinas assemble for their own festival, circling around to watch the performance of a troupe of acrobats.  The gather dolls seem to come alive, interacting with each other, taking on human characteristics, and appearing to express their delight in the performance.  A childlike tendency to humanize these playthings is common in Baumann's prints of dolls and toys and reflects something of the artist's character. "

Source: Guatave Baumann Nearer to Art

 

Conrad Buff, Utah, undated 11 x 15 inches Oil on Canvas, Signed and dated lower right

Conrad Buff (1886-1975)

Utah, undated
11 x 15 inches
Oil on Canvas
Signed and dated lower right

Retail Price $5,000

Holiday Sale $3,000

Conrad Buff, California artist, David Dee Fine Arts

Conrad Buff (1886-1975) 

Zion, 1931

lithograph

12.50 x 17.25 inches

Retail Price $5,000

Holiday Sale $3,500

G. Russell Case, utah landscape

G. Russell Case (1966 - )

untitled (red rock landscape with cattle)

Watercolor

22 x 29.50 inches

Retail Price $5,000

Holiday Sale Price $3,500

Lee Deffebach, utah women artists, utah artists, David Dee Fine Arts

Lee Deffebach (1928-2005)

Thoughts of Cario #2, 1999

acrylic on canvas

30 x 24 inches

Retail Price $5,000

Holiday Sale Price $3,500

 

A 1960 review in The Village Voice praised the works in Lee Deffebach's one-woman show, saying that "The best thing happening on 10th Street now is Lee Deffebach's work at Camino.  The colors are lyric, jazzy, loud.  It's a deep breath of fresth air after the conscious naivete, the Oh-shucks earnestness filling most of the galleries."  Deffebach, trained at the University of Utah, joined Alice Neel, Elaine deKooning, and others in the vibrant 10th Street gallery community that thrived in the late 1950s and early 60s.  

Lee Deffebach (1928-2005)

Untitled, 1965

18 x 23 inches

Collage

signed lower left

Retail Price $ 1,500

Holiday Sale Price $1,450

 

 

The Volkswagen bug and bus were not only ubiquitous in American marketing but they are now iconic symbols of the 1960s.  Deffebach staggers the vehicles to create the illusion of space in the composition but she leaves her own mark by incorporating oil paint.  Her swatches of color are limited but serve to give the work balance and focus the viewer’s eye on the vehicles.

 

Deffebach’s collages coincide with the Pop art work of Claes Oldenburg, Roy Lichtenstein, and Andy Warhol, among others.  Springing to life just as the robust economy of the 1950s intersected with the burgeoning consumer culture of the 1960s, Pop art rejected the masculine work of the Abstract Expressionists, and instead included marketing schemes and advertisements.  Unlike its process-driven predecessor, Pop art could be made quickly and it shadowed America’s demand for novelty and convenience.   

Lee Deffebach, collage

Helen "Lee" Deffebach

Odd-Lot System, 1964

27.75 x 32.5 inches

Newsprint, ink on paper

Signed upper center

Retail Price $1,500

Holiday Sale Price $1,450

George Dibble (1904 - 1992)

Home Port

Watercolor

22 x 30 inches (unframed)

sighed lower right

Retail Price $1,800

Holiday Sale Price $1,200

Maynard Dixon, oil painting

Maynard Dixon (1875 - 1946)

Sage and Cottonwoods, 1932

16 x 20 inches

oil on board

Holiday Sale Price Upon Request

 

By September of 1932 when this canvas was painted, Dixon had been on the road with his family for four months.  It had been a rough year for the Dixon family, with few paintings selling at the height of the Depression and tensions growing between Dixon and his wife, photographer Dorothea Lange.  Seemingly the only solace Dixon found was in the persistent sagebrush plants, the sturdy cottonwoods, and the homesteads that had taken shelter under the trees from the blistering sun.  Perhaps better than any other painter of the American West, Dixon captured the barren beauty and quiet dignity of the high Western desert.  

 

Maynard Dixon, american west, historical art

Maynard Dixon (1875 - 1946)

untitled (cowboy roping), 1940

crayon on paper

10 x 13 inches

Sale Price Upon Reqest 

Albert Looking Elk (1999 - 1940)

untitled (Taos pueblo snow scene)

oil on board

7 x 10 inches

signed lower right

Retail Price $2,000

Holiday Sale Price $1,500

Thomas Moran, great salt lake, chromolithograph,

Thomas Moran 1837 - 1926

The Great Salt Lake, Utah Territory, 1876

chromolithograph

9.375 x 14 inches

signature and watercolor original date - T Moran / 1874 

Publisher  - copyright, 1875, by L. Prang & Co. & Prang's American Chromo  

Holiday Sale Price Upon Request

 

This extraordinary print clearly features an idealized view of the Great Salt Lake and the Wasatch Range.  Moran’s work reflects the fondness for romantic views that support the idea of the sublime.  In our troubled times, it transports us to a feeling of grandeur and peace.

 

In 1841 Thomas Moran served as official artist for the United States Government Expedition to Yellowstone Valley along with geologist Prof. F.V. Hayden. Upon his return, Louis Prang commissioned Moran to create 14 watercolors of his travel which were printed alongside text by Hayden.  "These prints have never been surpassed as examples of the best American chromolithgraphy . . . (they are) considered unexcelled among illustration of the Far West." (The Chromolithographs of Louis Prang, Katharine M. McClinton, 1973, p.159)

 

Birger Sandzen, utah poplars,

Birger Sandzen (1871 - 1954)

Utah Poplars, 1930

lithograph

20 x 16 inches

Retail Price $ 3,000

Holiday Sale $2,500

 

Description

A pencil-signed and titled lithographic composition of tall poplar trees. 

Birger Sandzen, landscape, red rock

Birger Sandzen (1871 - 1954)

The Red Canyon, 1927

lithograph

17 x 22.25 inches

Retail Price $ 3,000

Holiday Sale $2,000

 

DESCRIPTION

Pencil-signed and titled The Red Canyon is a view of the Colorado River, near Moab, Utah. 

 

SIGNATURE

Pencil signed - title lower left and signed lower right.  Printed signature and dated lower right. 

BIBLIOGRAPHY

Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 117

Birger Sandzen 1871 - 1954

Timberline Snow, 1925

lithograph

9 7/8 x 13.75 inches

Retail Price $ 2,000

Holiday Sale $1,250

 

DESCRIPTION

A pencil-signed and titled vista of Pike's Peak, with cedars in the foreground. Executed on cream laid paper, in a wooden frame.

Birger Sandzen, landscape, lithograph

Birger Sandzen (1871 - 1954)

Arroyo with Trees, 1925

lithograph

12 x 18 inches

Retail Price $ 2,750

Holiday Sale $1,500

 

A pencil-signed and titled image of trees before a Southwestern gully. 

Fritz Scholder, Modern native american art

Fritz Scholder (1937 - 2005)

Snake Dancer, 1979

color lithograph, 81/150

30 x 22 inches

Retail Price $4,800

Holiday Sale Price $3,000

 

One of the most celebrated Native American artists, Scholder created powerful images that defied stereotypes and had significant aesthetic appeal.  Scholder says "...it is my intention not only to set up graphically a new visual experience for the viewer, but also to make a statement in regard to the society and land in which we, the descendants of the American Indian, live. I am well aware that my paintings are not literal, for to me some ideas require unique statements. I try to capture not only the physical, but the inner and even spiritual."

Tony Smith, utah artist, abstract

Frank Anthony "Tony" Smith

Scarecrow, 1983

43 x 55 inches

acrylic on canvas

Retail Price $10,000

Holiday Sale Price $7,500

 

One art curator wrote that, "Tony Smith’s paintings are works in motion…abundant in visual and psychological intrigue…imbued with magic, possibility, and surprise.”  A professor at the U of U from 1966 - 2001, uses illusionism, light, and color to create magical moments.  Smith remarked that, “What is important to me is magic, literal magic, a sense that the world is changeable, surprising, that it’s more than you think."

 

 

Doug Snow, utah landscape

Doug Snow 1927 - 2009

untitled, 1982

Oil on canvas

36 x 48 inches

Retail Price $12,000

Holiday Sale Price $10,000

James Everett Stuart, Yellowstone, Wyoming, Yellowstone National Park, western art, 1885

James Everett Stuart 1852 - 1941

The Grand Geyser -  Upper Geyser Basin Yellowstone, July 1885

18 1/4 x 30 inches

Oil on canvas

Retail Price $9,000

Holiday Sale $8,000

 

Stuart first traveled to Yellowstone in 1885, and camped for several weeks, supplying himself with fish for food, climbing steep cliffs including Electric Peak, and filling his sketchbook for studio paintings.  He had studied art with Virgil Williams, Raymond Yelland, Thomas Hill, and William Keith at the San Francisco School of Design, and hungry to paint the untrammeled West, set out with his paints, easel and tent, from which he sold his paintings near tourist sites in Yellowstone.  In this scene, Stuart captures the power, drama, and scale of the great curiosity that were Yellowstone’s geysers.

James Everett Stuart, western art, Shoshone Falls, Idaho

James Everett Stuart (1852-1941)

Looking Across the Top of Shoshone Falls, Idaho, June 21, 1885

18 x 30 inches

oil on canvas

Retail Price $9,000

Holiday Sale $7,000

 

 

One month prior to painting his energetic scene of geysers in Yellowstone, Stuart visited Shoshone Falls near Boise, Idaho.  He deftly created a sense of motion, grandeur, and drama, depicting the mist from the falls rising hundreds of feet in the air.  It was one of the many wonders that easterners were anxious to learn about through the art of painters like Stuart.  

 

Signed "J.E. Stuart" lower left, dated, titled and numbered

Sherry Tafoya (1956 - )

Santa Clara Carved Blackware, 1985

Clay

9.5 x 9 inches

Signed on base

Retail Price $1,500

Holiday Sale $1,400

 

Born in Santa Clara Pueblo in 1956, Sherry Tafoya is the daughter of potter Mida Tafoya, a grand-daughter of Christina Naranjo, and a great-grand-daughter of Serafina Tafoya.  She carries on the family artistic and stylistic tradition with sharply incised black and redware. 

 

Incised black and redware pottery is one of the most recognized and celebrated styles of puebloan pottery.  It emerged as a signature method of manufacture and design within the Santa Clara Pueblo, though its origins can be traced to the Ancestral Puebloan people whose pottery-making traditions can be traced back thousands of years. 

 

Contemporary potters such as Sherry Tafoya follow the traditional hand-coil method of rolling wet clay into snakes and coiling the snakes on top of each other.  As the coils piled up, they are pinched together, then scraped on the inside and out to smooth the surfaces and remove extra clay.  Decoration is applied by brushing darker or lighter colors - red, black, and white over the surface.  The carving of the decoration takes place before firing in a wood-burning kiln structure.

 

Sherry Tafoya's work is characterized by deliberate and shaply formed carved edges, yielding especially crisp designs.  Her pottery is illustrated on page 233 of the book "Fourteen Families in Pueblo Pottery."

Linda Tafoya (1962-)

Santa Clara Carved Blackware Jar, 1985

Clay

10.5 x 8 inches

Signed on base

Retail Price $1.500

Holiday Sale $1,400

 

Linda Tafoya is the granddaughter of Santa Clara Pueblo pottery matriarch Margaret Tafoya, and the daughter of Lee and Betty Tafoya.  She began making pottery at age 12, with her father teaching her to make the vessels and carve the designs, and her mother teaching her how to sand and carve the vessels.  She learned how to manipulate the firing process to create a deep, black color, and uses family heirloom stones to perfect the polishing effect.  Although she has received many accolades, Linda is most proud of praise she once received from her renowned potter grandmother Margaret Tafoya: "You do good pots."

Hiroshi Yoshida, Grand Canyon, Grand Canyon National Park, western art, woodblock print

Hiroshi Yoshida (1876 - 1950)

Grand Canyon, The United States Series, First Edition - Earliest State, 1925

11.5 x 16.25 inches

Japanese woodblock print

Publisher: artist

Color earliest "red"

Signature:

Jizurk seal in upper left margin

brush signed & sealed by the artist

pencil titled & signed in the bottom margin

Retail Price $ 15,000

Holiday Sale $12,500

 

A romantic realist, Yoshida’s style resembles that of an English 19th Century watercolorist applied to Japanese themes.   Yoshida is noted for subtle colors and naturalistic atmosphere.  This stunning print captures the stark contrasts of light and shadow, red rock and white snow of the Grand Canyon in winter solitude.

Mahonri Macintosh Young (1877 - 1957)

Rolling His Own

bronze

13 x 3.75 x 3 inches

Retail Price $18,000

Holiday Sale Price $15,000