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 (1943 - )
untitled, 1986
lithograph (framed)
22 x 20 inches
Retail Price $400
Holiday Sale $300
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 (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 (1886-1975)
Zion, 1931
lithograph
12.50 x 17.25 inches
Retail Price $5,000
Holiday Sale $3,500
Lee Deffebach (1928-2005)
Stripe Series, 1980
acrylic on canvas
42 x 52 inches
signed and dated bottom right
Retail Price $15,000
Holiday Sale Price $9,500
In 1982, Deffebach used acrylic to create bold stripes of color. This relatively new, plastic based medium allowed artists to explore its expansive technical possibilities and wider range of hues. Paint over unprimed canvas dramatized the painting’s materiality.
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.
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 (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 (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
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 (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 (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 (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."
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 1927 - 2009
untitled, 1982
Oil on canvas
36 x 48 inches
Retail Price $12,000
Holiday Sale Price $10,000
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 (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 (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
