Maynard Dixon (1875 - 1946)
Snake Kiva-Oraibi, 1902
pastel on paper
11 x 8 inches
Retail Price $ 25,000
Holiday Sale $ 17,500
In 1902 Dixon accepted a commission for illustration work from the Santa Fe Railroad. In addition to being a source of income, it was an opportunity to retun to AZ, with which he had become enthralled on his first trip there in 1900. He accompanied photographer Frederick I. Monson in Los Angeles on his assignment to photograph the Hopi on their remote mesas.
It was, and remains, extremely rare for Anglos to be invited to reside with and observe the Hopi. Dixon spent considerable time in Hopi country, including a 1923 trip in which he convalesced for four months, living with Namoki, one of the snake priests, and his blind brother, Loma Himma. Dixon earned the trust of his Native American acquaintances and subjects through the years through showing them respect and displaying a genuine interest in their beliefs, practices, and cultures. Even though he worked an an illustrator of western subjects, he had disdain for romanticized, condescending depictions of all westerners. Here he has created an honest and admiring imaged of the Hopi village adobe architecture and ceremonial structure of the kiva.
LeConte Stewart (1891 - 1990)
CARDSTON CANADA
OCT 6 A.M. 1920
Oil on paperboard
6.75 X 8.5 Inches
Retail Price $ 20,000
Holiday Sale $ 15,000
On the bottom edge of this painting LeConte Stewart recorded that it was created on October 6 sometime in the “A.M.” By this date, in Alberta, Canada, the sun does not rise until around 7:30, which might not have given the observant painter much time to locate and record this nondescript, yet remarkable set of trees before noon.
Autumn Morning was made during an important period in the artist’s career. Stewart was in Alberta on assignment; his primary task was to paint the murals in the Cardston Temple for the Church of Jesus Christ of Latter-day Saints. With the help of this commission, his career was on its ascendency. He would soon begin teaching, first at Ogden High School and later at the University of Utah, where he would influence a generation of Utah artists. During this time, he would also hone his craft and become one of the leading landscape painters in the American tradition.
This painting is also an early example of the primary characteristics of Stewart’s best work. Throughout his career, he tried to avoid the sentimental; he wanted, as Wallace Stegner observed, to avoid all “prettification.”[1] Furthermore, he disliked verdant scenes and generally selected nondescript subjects for his paintings. He chose to paint outdoors from “late fall to early spring” during seasons most fair-weather painters tried to avoid.[2] Mud, winter’s chill, and snowy roads were not deterrents for Stewart.
On this Wednesday, probably before working on the temple murals in the afternoon, Stewart captured a scene in which the brilliant colors of fall were already muted, and the browning leaves were nearly ready to fall. This aligns with the artist’s aesthetic. “I would rather paint the cool violet and the somber gray ashes of late autumn and winter than the brilliant red and orange fires of fall,” he asserted.[3] Elsewhere Stewart explained, “I am trying to cut a slice of contemporary life as it is in the highways and byways, as I have found it…I cannot ignore the call of life in the raw.”[4] Thus, what really made art great, he argued, was its ability to capture “a time of day, or a season of year, as well as a place.”[5] This is exactly what Stewart did on a chilly October morning in Canada.
-Dr. James R. Swensen, Professor of Art History and the History of Photography, Brigham Young University.
[1] Wallace Stegner, “The Power of Homely Detail,” American Heritage 36, no. 5 (August/September 1985): 64.
[2] Gregory C. Thompson, “Sketches from Life: LeConte Stewart,” American Artist 49 (November 1985): 114.
[3] Stewart, quoted in Stegner, 69.
[4] Stewart, quoted in Robert S. Olpin, Dictionary of Utah Art (Salt Lake City: Salt Lake Art Center, 1980), 241.
[5] LeConte Stewart, Untitled document, LeConte Stewart Papers, Special Collections, J. Willard Marriott Library, University of Utah, Salt Lake City, Utah.
Hirisho 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 $ 12,500
Holiday Sale $ 11,000
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.
Maynard Dixon (1875 - 1946)
Bear and Bull Fight, 1926
Gouache on Paper
15 x 10 inches
Retail Price $ 28,000
Holiday Sale $25,000
Commission for the University of California (CAL) Yearbook
Signed and dated lower left
Maynard Dixon (1875 - 1946)
Wolf Dancer, 1926
Gouache on Paper
15 x 10 inches
Retail Price $ 28,000
Holiday Sale $ 25,000
Commission for the University of California (CAL) Yearbook
Signed and dated lower left
William Wendt (1865 - 1946)
untitled (canyon landscape)
Oil on canvas
25 x 30 inches
Retail Price $ 55,000
Holiday Sale $ 35,000
Lee Deffebach (1928-2005)
untitled, 1974
acrylic on canvas
55h x 44w inches
Retail Price $15,000
Holiday Sale $12,000
Don Olsen (1910-1983)
Enigma Variation, 1976
acrylic on canvas
72h x 60w inches
Retail Price $20,000
Holiday Sale $18,000
Don Olsen (1910 - 1983)
unititled (Ink & Collage series)
ink and collage
20.25 x 27.25 inches
Retail Price $ 7,000
Holiday Sale $ 6,000
V. Douglas Snow (1927 - 2009)
Respuesta, 1989
Oil on canvas
36 x 40 inches
Retail Price $ 12,500
Holiday Sale $ 11,000
V. Douglas Snow (1927 - 2009)
untitled, 1982
Oil on canvas
36h x 48 inches
Retail Price $12,500
Holiay Sale $11,000
V. Douglas Snow (1927 - 2009)
Venetian Wall, 1986
Oil on canvas
40 x 60 inches
Retail Price $ 15,000
Holiday Sale $ 12,500
V. Douglas Snow (1927 - 2009)
Cloud Webs, 3/31/1995
Oil on canvas
48 x 84 inches
Retail Price $ 22.000
Holiday Sale $ 19,000
Birger Sandzen (1871 - 1954)
Utah Poplars, 1930
lithograph
20 x 16 inches
Retail Price #3,000
Holiday Sale $1,500
Description
A pencil-signed and titled lithographic composition of tall poplar trees.
Sven Birger Sandzen (1871-1954)
Arroyo with Trees, 1925
lithograph
12h x 18w inches
Retail Price $ 2,750
Holiday Sale $1,800
Birger Sandzen (1871 - 1954)
The Red Canyon, 1927
lithograph
17 x 22.25 inches
Retail Price $3,000
Holiday Sale $1,500
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 $1,500
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.
Lee Deffebach (1928-2005)
Pacific Heights,1982
Watercolor
9h x 12w inches
Retail Price $ 2,500
Holiday Sale $ 2,000
Lee Deffebach (1928-2005)
Two Chimneys at Tuscarora, 1986
Oil on canvas
7.50 x 9.50 inches
Retail Price $ 2,000
Holiday Sale $ 1,500
Lee Deffebach (1928-2005)
A Visit to Moab, 1989
monotype
6 x 6 inches (site)
Retail Price $ 900
Holiday Sale $800
Lee Deffebach (1928-2005)
Art Song, 1994
found metal
11.50 x 8 inches
Retail Price $ 450
Holiday Sale $ 400
Lee Deffebach (1928-2005)
untitled, 2000
wood
7.5 x 5.25 inches
Retail Price $200
Holiday Sale $150
