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WILLARD CLARK (1910-1992)

Willard Clark (1910-1992), Naïve New Mexico rural religious scne, Oil on board 7” x 9 ½”, signed Willard Clark lower right. SOLD

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HOWARD RUSSELL BUTLER, NA (1856-1934)

Untitled view of a geyser in Yellowstone, plein air oil painted on location in Yellowstone Park, ca. 1920. oil on panel 10” x 14, signed H. R. Butler lower right.

Howard Russell Butler, although educated at Princeton and Columbia as a lawyer, became obsessed with the west after an 1877 trip to California and Yosemite where he visited with John Muir. He traveled to Mexico in 1884, where he opened and shared a studio with Frederick E. Church and studied subsequently at the Art Students League, NY, and in Paris, where he became active in the American artist colony, focusing primarily on color and light, and painting in a loose, impressionistic style. One of his frequent painting companions was JohnSinger Sargent.

Butler lived periodically in both Pasadena and Santa Barbara in the first quarter of the 20th century, painted extensively in both California and Arizona, and in 1920 took a pack trip with his family through Yellowstone where he made numerous watercolor sketches. Returning East, he had a one man exhibition of his Yellowstone paintings at New York’s Century Club which received much praise. This is the likely source of the present example

Works held: Metropolitan Museum of Art, New York, Museum of Fine Arts, Massachusetts, National Portrait Gallery, Washington, D.C., New Jersey State Museum, The Mattatuck Museum, and the Parish Art Museum, Southampton, New York. Thanks to the Redfern Gallery for some of the above biographical information. SOLD

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WARREN E. ROLLINS (1861-1962)

WARREN E. ROLLINS (1861-1962), untitled Pueblo Girl with Shawl, oil on board 15” x 10”, signed Rollins lower left. SOLD

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CHARLES PARTRIDGE ADAMS (1858-1942)

Died 1942, a painterly vision of the Arapahoe Peaks ca. 1895, likely painted on location, and infused with atmospherics and sophisticated light handling. 10" x 14" on stretched canvas, signed lower left, in it's original Newcomb-Macklin gift frame, both in impeccable condition. SOLD

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HELEN HENDERSON CHAIN (1849-1892)

HELEN HENDERSON CHAIN (1849-1892) rare early view of the village and pueblo of Chamita in Northern New Mexico, oil on canvas 20x40” circa 1880, signed Chain lower right, painted from life when the artist was traveling on the Denver and Rio Grande Railroad. Bears a tag on the verso of the stretcher bar with title and other information about the village In fine condition, re-lined, with supporting conservation report.

Chamita New Mexico is in Rio Arriba county approximately 27 miles north and west of Espanola, between US 285 andf NM 68, and virtually contiguous to the northern border of the San Juan Pueblo. SOLD

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FRANK JOSEPH VAVRA (1892-1967), “ A March Day, Looking Toward Boulder from Wide Acres,” Bear Peak, Eldorado Springs and the Flatirons, oil on stretched canvas 22”x29”, signed lower right “Frank J. Vavra, Colo, 1927,” title inscribed in pencil verso of stretcher A fine snow scene by Colorado’s most popular impressionist landscape painter during the 1920’s.

SOLD

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EANGER IRVING COUSE (1866-1936) White Tipi Nocturne and Chamisa, oil on canvas 11” x 5/12,” signed COUSE lower left, a plein air sketch from the artist’s estate, -re-stretched. SOLD

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Ferdinand Kaufman (1864-1942), “Late Afternoon,The Platte Canyon  

Estabrook, Colorado,” oil on canvas 30”x36,” signed F. Kaufman lower right, title inscribed by the artist on the stretcher bar. circa early 1930’s, highly likely a plein air view painted on location.

Ferdinand Kaufman was a highly respected member of the Laguna Beach Art Association, the Pasadena Art Institute, and the North Shore Art Association. Born in Germany, he emigrated to the United States as a teenager, then returned to Europe to study painting in Paris for six years with French masters Laurens, Bougereau, Constant, and Manet. In 1921 Kaufman settled in Pasadena and bought a studio home in Laguna Beach. We speculate that he visited Colorado on his sole painting trip here sometime in the early 30’s.

An impressionist and master of color and composition, the influence of Kaufman’s Parisian teachers is evident in his plein air landscapes. The artist’s large brushstroke paint application appears to be random and scattered up close, but the spatial recession and structure of the picture come into sharp focus at a distance of four feet.

Likely a top- down composition intended to hastily capture the fast fading mountain top light, the artist could be presumed to have been backing up frequently from the canvas to reconcile his developing composition against the scene. If you have your eyes on at all, the raw power of the large impasto, restrained just enough, to be a cohesive image, is almost startling in its success. Edgar Payne is recalled here.

Kaufman’s few extant Colorado paintings are distinguished by dramatic lightning effects ,painterliness, and thick, impastoed brushwork.

Kaufman died in Los Angeles County in 1942.

Vintage 22k gilt carved picture frame SOLD

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RALPH WALDO EMERSON MEYERS (1885-1948) Church at Ranchos de Taos, oil on board 12" x 16"signed “Frank Meyers, 1927,”lower left.

Ralph Meyers was a unique participant in the early Taos art colony - indian trader, master silversmith, weaver and adobe builder, and through dint of hard work and osmosis, became one of its most distinctive painters in the community.  Meyers was part of a second stream of talented Taos artists who worked in the shadow of their more famous contemporaries.  He had close personal and social relationships with many of the art luminaries of the period, and several of them had influences on his work, most notably Leon Gaspard, who remarked that Meyers was one of the finest colorists of the period. Meyer’s signature works such as the present example are exceedingly rare. SOLD

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Lloyd R. Moylan (1893-1963), Studied, the Minneapolis Art Institute, the Art Students League in New York, 1917-1919, and later, beginning in 1922, with Birger Sandzen and others at the Broadmoor Art Academy in Colorado Springs. Moylan taught and was a professional member at the Broadmoor Art Academy from 1929 to 1931, during which time he made numerous painting trips to Arizona and New Mexico, and painted significant murals of indian subject matter at the Cheyenne Mountain School and the Ute Theatre, as well as the old Antlers Hotel. He relocated to Santa Fe in 1933, where he became the first curator of the Museum of Navajo Ceremonial Art, the predecessor to today’s Wheelwright Museum. Moylan died in Alcalde, NM, where he later shared a studio space with Broadmoor Academy colleague, D. Paul Jones.

Moylan is well known for his large murals of indian subject matter, executed under the auspices of the Works Progress Administration, in public buildings in Gallup, Las Vegas, Portales, and the Hotel Anaaluz, Albuquerque, , several paintings of Indian dances at the officers club, Kirtland AFB in NM, as well as a large mural of the Matachines Dance, location unknown. Moylan’s work is held in the permanent collections of the Museum of Fine Arts, Santa Fe, the University of New Mexico Museum, the Arizona State University Art Museum, Dallas Museum of Art, The University of Oklahoma, the Colorado Springs Fine Arts Center, and Penrose Library, Colorado Springs.

Navajo Women Cooking, watercolor on rag paper signed lower left Moylan, titled in ink and signed verso Lloyd Moylan, 1942 SOLD

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EDWIN WILLARD DEMING (1860-1942) oil paintings
wanted for purchase: preference for Plains Indian and other
western Native American subject matter.

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GENE KLOSS (1903-1996), selected etchings from her Taos area work:

Adobe Houses and Taos Mountain, Artist Proof, 1960, framed SOLD

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Corn Dancers Coming 46/50, 1975, framed SOLD

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January Morning, Artist Proof, 1973, framed SOLD

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In Ranchos de Taos, Artist Proof, 1973, framed SOLD

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Years Ago in Arroyo Seco, Artist Proof, 1981 SOLD

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“Across Moreno Valley,” a rare oil painting, oil on canvas 24”x36,”Signed Kloss lower right, titled verso. The Moreno valley in northestern New Mexico is in proximity to Angel Fire and was the scene of a roaring gold mining boom. SOLD

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Walter Paris (1842-1906), A rare and historically significant 1875 watercolor of Pikes Peak and early Manitou Springs by the English born painter and Colorado Springs’s first resident artist, Walter Paris ((1842-1906), watercolor on paper 7 3/4” by 11 3/4” sight, signed lower right “W Paris, 1875.” Please consult my blog concerning the painting and Mr Paris on the the homepage, lower left. SOLD

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EANGER IRVING COUSE (1866-1936) White Tipi Nocturne and Chamisa, oil on canvas 11” x 5/12,” signed COUSE lower left, a plein air sketch from the artist’s estate, -re-stretched. SOLD

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Carl Bodmer (1809-1893) C. “Sih-Chida and Mahchi-Karede, The Mandan Indians,” Tableau 20 from Travels in the Interior of North America,” vintage aquatint copperplate engraving with original hand color and heavy gum arabic application,,, Swiss artist Carl Bodmer (1809-1893) C. Bodmer blindstamp lower center. Ackerman, Strand, London, first state, early 1840’s, sight size 20”x17,” sheet size 24 5/8 inches by 17 2/4 inches. Custom-framed in heavy rag and gold leaf. SOLD

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flag flag

Vintage 19th cent. 38 star American Flag, commemorating the admission of Colorado to the union on July 4, 1877. Wool, 47 x 80 in., with 38 hand sewn double appliquéd stars configured 8/7/8/7/8. The fly is constructed of 13 machine-sewn wool stripes. In generally good condition with vibrant colors. Flags with 38 stars were used from 1877-1890, during the presidencies of Rutherford B. Hayes, James A. Garfield, Chester A. Arthur, Grover Cleveland, and Benjamin Harrison. SOLD

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Basket dance at the Hopi village of old Oraibi, Arizona, ca. 1895, oil on canvas laid down on board 10 x 8 in., unsigned, attributed to Frank Paul Sauerwein, American 1871-1910. The basket dance is put on by the Lalakonti and Oqualti societies in the fall, both women's societies. The women dance outside in the plaza with baskets after 9 days of religious ceremonies in the kivas. At the end of each dance, they fling the baskets to the male spectators. Young women who are initiated into these societies are considered eligible to make baskets. In the right center of the painting, a group of men tussle for a basket thrown to them by the female figure on the right of the circle of dancing women.

SOLD

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Jules Dahlager (1884-1952) Untitled Alaskan lake scene, a jewel-like miniature,  oil on academy board 6”x7 1/2”, signed “Jules” along a diagonal, lower right hand corner, original gilt carved frame.

SOLD

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Charles Craig (1846-1931), untitled mounted Ute on the move, watercolor on paper 14x101/2” sight, signed lower right. Early Pikes Peak indian painter and landscapist, painted the Utes in historic times with accuracy, gained from several years living with them and carefullly recording the details of their culture. A 50 year resident of the ‘Springs, he was the state’s first academically trained resident artist. SOLD

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Edwin Willard Deming (1860-1942), untitled mounted Crow maiden in front of a tipi, oil on canvas 17”x11,” signed and with the artist’s shield device lower right, ca. 1893, painted from life on the Crow reservation where the artist visited and painted in that year while on an expedition with fellow artist DeCost Smith. This charming treatment is full of ethnographic detail, including the decorated uniquely Crow woman’s stirrups. She also appears  to be wearing a Navajo Chiefs blanket over her left arm and waist. SOLD

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LONE WOLF, Nitoh Makwi, Blackfeet (1882-1970) aka HART MERRIAM SCHULTZ, ,untitled view of two mounted Blackfeet warriors at sunrise, oil on canvas 20” x 24, “ signed and with the artist’s wolf insignia lower left.

The most important Native American painter associated with Glacier National Park, Lone Wolf, the son of James Willard Shultz and his Blackfeet wife Fine Shield Woman, was born in Birch Creek, Montana in 1882. Raised as a traditional Blackfeet on the family’s ranch near Fort Conrad, he absorbed the ways of the Blackfeet from his mother, wore his hair long and painted his face. He dabbled in watercolor at an early age while working on the ranch, and at 15 he left the reservation and worked as a cowboy. He later contracted tuberculosis and moved to Arizona for health reasons, where he found work as a cowboy, guided tourists in the Grand Canyon, and began to paint.

Following a serendipitous encounter with the landscape master Thomas Moran, who responded strongly to his work and was very encouraging and supportive, Lone Wolf studied at the Art Student’s League in Los Angeles in 1909 and subsequently at the Chicago Art Institute. Disenchanted with the academic life, he returned before too long to Montana. Cowboying on a ranch near the Canadian border, he met Naoma, daughter of the ranch foreman, and they rode horseback to Cut Bank for a hasty wedding. Naoma brought a sense of stability to Lone Wolf which lasted throughout their 54 year marriage. Lone Wolf had his first one man exhibition in California in 1917, which generated excitement and notoriety, and he started selling paintings to the Santa Fe Railroad. Astute in marketing,

Lone Wolf played up his plains Indian heritage, going to gallery openings in full Blackfeet attire and attracting the attention of patrons with his exotic background. Lone Wolf spent summers painting at St. Mary’s Lake. In 1920 avid art collector August Hecksher arranged for Lone Wolf’s first show in New York, and also introduced him to the owner of Babcock Galleries in the city, beginning an association which lasted for many years. Mrs. Calvin Coolidge, Herbert Hoover and the writer Owen Wister and others began collecting his work.

Lone Wolf died in Tucson a few days short of his 88th birthday. On July 16,1971 a Give Away Feast was held in Browning to honor Lone Wolf’s life. There, along with hundreds of Blackfeet, Naoma viewed the photographs, paintings and other memorabilia on display in tribute to Glacier’s most famous native painter.

SOLD.

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Joe Neil Beeler (1931-2006), Plains warriors and wagon train, oil on canvas 18”x24,” signed Joe Beeler lower right, ca. early 1960’s. SOLD

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ALBERT LOOKING ELK MARTINEZ, Taos, (1888-1941) Untitled view of Taos Pueblo, Rio Pueblo in foreground, oil on board 6 3/8 x 8 3/8”, 1940, signed Albert Looking Elk lower right.

Albert Looking Elk was a model, initially reluctantly, to E. Irving Couse, and he continued to model through his childhood and into adulthood. In. 1900 he also modeled for Oscar Berninghaus and by 1915, after receiving a Christmas present of paints and brushes and painting lessons from Berninghaus, Looking Elk began his own art career.

Looking Elk’s primary source of inspiration and subjects were the Taos Pueblo. His works were realistic, as opposed to the romanticized compositions of the Taos Society. He was also influenced by the style of the Santa Fe Indian School. Between 1923 and 1930 Looking Elk showed his work several times at the Museum of Fine Arts in Santa Fe.

Looking Elk’s successful adaptation of of European painting techniques offended many white collectors and curators of the day.

SOLD.

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EDWIN WILLARD DEMING (1860-1942), “The Ute Lover,” black and white gouache on artist board 17”x12”, signed EW Deming lower right, titled verso, ca. 1899, illustrated as a half tone plate engraving accompanying a poem of the same title by Hamlin Garland in the June,1899 issue of The Century Magazine. Custom framed; accompanied by a bound copy of the magazine containing the poem and image. SOLD

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Alfred James Wands (1904-1998)“Taos Mountain,” oil on masonite 16”x20”, signed Wands lower right, titled on old Alfred Wands studio label on the reverse, circa 1935. Alfred Wands’ modernist New Mexico subjects, which he produced during the eleven year span 1930-1940, when he spent summers in Taos with his family, are scarce and desirable. Equally regionalist and modernist in character, they will remain his principal artistic legacy. In this painting, Wands combined the simplified, muscular form of regionalism with a modernist cubism. Wands had the good fortune to associate, study with and paint alongside many of the most important Taos artists of the day, including Victor Higgins and Ernest Blumenschein, and the influence of both on Wands’ New Mexico work from that period is clear. Wands studied at the Cleveland Art Institute, graduating with honors, and subsequently spent six months in Paris at the Acadamie Julien, and also in Brussels, Munich, and Western Reserve University, and later was an instructor both at the Cleveland Institute of Art and the Cleveland Museum of Art. Wands moved to Denver to direct the art program at Colorado Women’s College in 1930, from which he resigned in 1947. A prolific artist, he later moved to Estes Park, where he opened a gallery and sold decorative landscapes of Rocky Mountain National Park to tourists.

SOLD

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Raphael Lilywhite (1891-1958) 

Untitled   mounted plains indians, steep descent with travois, oil on canvas 12” x 12”, signed Raphael Lillywhitelower right, original gilt carved frame, ca. 1925.

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Charles Partridge Adams (1858-1942) “The Arapahoe Peaks, Colorado, Autumn Afternoon Above Boulder,” oil on canvas 20”x24,” signed lower left, titled verso, exhibited “Rocky Mountain Majesty, the paintings of Charles Partridge Adams, Denver Art Museum, 2012-2013 SOLD

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Charles Partridge Adams (1858-1942) “The Arapahoe Peaks and Silver Lake, Colorado,” oil on canvas 7” x 9,” signed lower left, title inscribed verso of stretcher bar, ca. 1896 SOLD

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CHARLES PARTRIDGE ADAMS (1858-1942) ,Rare plein air painting of Mt. Sopris in Colorado’s Roaring Fork valley, oil on panel 7” x 13,” titled by the artist verso, “Mt. Sopris, Early Morning, from Glenwood Springs,” signed lower left, ca. 1890. Adams, currently highlighted with a 33 painting retrospective exhibition at the Denver Art Museum, was Colorado’s leading native impressionist landscape painter during the late 19th and early 20th centuries. The Denver Art Museum has published a stunning limited edition book, ‘Charles Partridge Adams, Rocky Mountain Majesty, “ to commemorate the exhibition. Check my blog for additional details. SOLD

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WALTER ALEXANDER BAILEY (1894-1889), Untitled late afternoon view of Taos, oil on stretched canvas 20”x24,” signed lower right Taos and dated1928. Walter Bailey, a noted muralist and landscape painter, studied with Thomas Hart Benton and Randall Davey at the Kansas City Art Institute, and also with Ross Braught and Leon Gaspard. Bailey was instructor in landscape painting, Master Class, Taos, 1927-1929 and his regionalist style, exemplified by several large murals he painted in the Kansas City Municipal Auditorium and the Kansas City Art institute, is strikingly apparent in the contours, simplified forms and expressive color of this picture. SOLD

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Lloyd R. Moylan (1893-1963), Medicine Ceremony, watercolor on thick rag paper, 14 1/4” x 19 1/2: sight, singed lower left Moylan, titled verso in ink Lloyd R. Moylan, 1942. SOLD

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Lloyd R. Moylan (1893-1963), Zuni Creation Myth, watercolor and tempera on board 19” x 26”, signed lower right, titled lower right. SOLD

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Gerard Curtis Delano (1890-1972) “The Shepherd,” oil on board 7 1/2” x 14,”, signed with the artist’s monogram lower right, signed Gerard Curtis Delano and titled verso and also on the backing board. SOLD

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An outstanding small sunset study of a river and distant mountains by Colorado master Charles Partridge Adams, died 1942, oil on canvas 7”x10”, signed Charles Partridge Adams, ’98 lower left, faint and illegible pencil title inscription verso of stretcher, in pristine condition. Price on request SOLD

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VICTOR CASENELLI, American (1867-1961) Untitled mounted plains indian with packhorse in woodlands at sunset, gouache and watercolor on board 12”x20” sight, signed lower right, early 20th century, ex-collection Edward M. Woliver, MD. Born in New York City, and active in Cincinnati from the mid 1880-’s until 1905, Casenelli, though his acquaintance with Henry Farny, John Hauser, Joseph Sharp and other western-oriented Cincinnati painters, began to paint Native American subjects. He later moved to Michigan. SOLD

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Raphael Lillywhite (1891-1958), untitled Indian couple moving downhill with a travois, oil on canvas 12”x12”, signed Raphael Lillywhite lower right., ca. 1930. Lillywhite was an important artist documentarian of the vanishing Colorado high country ranching lifestyle and and of plains and southwest indian cultures in Colorado and the west in the decades leading up to World War II. Born in Woodruff, AZ and raised in a large Mormon family which operated a trading post along the Little Colorado river, he graduated from the University of Utah, and later studied with Gonzales and Tigera in Mexico. Following his marriage in 1924 he settled near remote Walden, Colorado in 1924. where he lived and painted for nearly twenty years. In 1943 Lillywhite moved to Laramie, WY, where he painted for the rest of his life. Lillywhite is also credited with painting thirteen large panoramic habitat background murals for the displays at the Denver Museum of Nature and Science.

SOLD

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DAVE POWELL (1954---) CAA, “Timber Mountains Shield, Kiowa,” oil on board 12”x9”, signed lower right Dave Powell, titled on verso by the artist, ex-coll Paul and Doris Masa, Kalispell, Mt. SOLD

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LLOYD MOYLAN (1893-1963) untitled New Mexico landscape with wild horses in an arroyo with stream, oil on board 12”x14”, signed

Lloyd Moylan lower left, ca. 1932. Lloyd Moylan, originally from St. Paul, Minnesota, studied at the Minneapolis Art Institute, the Art Student’s League in New York, 1917-19, and later, beginning in 1922, at the Broadmoor Art Academy in Colorado Springs. He taught at the Broadmoor Art Academy from 1929 to 1931, He made numerous painting trips to Arizona and New Mexico during his years in Colorado Springs, and finally moved permanently to New Mexico, where he painted Indian genre and mural art and ultimately became the Curator of the Museum of Navajo Ceremonial Art in Santa Fe, the predecessor to today’s famed Wheelwright Museum.

Moylan is well known for the large murals of indian subject matter which he created in the Cheyenne School and Ute theatre, Colorado Springs, stimulated in part by his trips to Mexico and exposure to the burgeoning mural movement there. Later, and under the sponsorship of the WPA, Moylan executed a large mural spanning two floors in the administration building of Highlands University in Las Vegas, New Mexico, a 2,000 square foot mural in the McKinley County courthouse in Gallup, New Mexico, as well as murals at eastern New Mexico University in Portales, New Mexico., and in the Hilton Hotel, Albuquerque. Exhibited: Art Institute of Chicago, Broadmoor Art Academy, University of Colorado Museum. Collections: Museum of Fine Arts, Santa Fe, Penrose Public Library, Colorado Springs, University of New Mexico Museum, Albuquerque, Smithsonian American Art Museum, Washington, DC, and many New Mexico and Colorado Springs private collections. Moylan died in Gallup, where he taught art at the Gallup High School.

Stylistically, Moylan was a regionalist modernist, and work from his prime period in the 1930’s had a strong art deco flavor with simplified line and muscular composition, very much in tune with the social realism and WPA aesthetic of the period. The present example is notable for its heavily impastoed brushwork and tactile surface.

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GERARD CURTIS DELANO (1890-1972), SOLD Long Shadows in the Canyon, oil on masonite 18”x24”, signed with the artist’s distinctive signature device lower right, inscribed by the artist verso “Long Shadows in the Canyon, Painted and Copyright by Gerard Curtis Delano.”

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EDWIN WILLARD DEMING SOLD (1860-1942) “Children of the Lodges,” watercolor and gouache on board 14 3/4 by 23 in., signed lower right E.W. Deming and insignia, ca. 1900, in its original late victorian style gilt filigreed picture frame.

A multi-faceted artist best known for his depictions of Native Americans and wildlife, Edwin Willard Deming was born in Ashland, Ohio, in 1860. He received his training at the Art Students League and spent a year in Paris where he studied with Boulanger and Lefebvre. Deming had a long-standing relationship with Native Americans. As a child he played with Sac, Fox, and Winnebago Indian children in western Illinois. During Deming’s first trip to the American West in 1887, he visited the Apache and Pueblo Indians in the Southwest, and the Umatillas in Oregon. In 1893, Deming and fellow artist DeCost Smith spent time among the Sioux and Crow Indians to write and illustrate about life among these people for Outing magazine.

On one of his infrequent trips to New York City, Deming married Therese Osterheld, who was also an artist. They raised their six children out West where the Blackfeet Indians adopted the family and gave Deming the name Eight Bears. Later, the family moved back to New York City where their home in Greenwich Village was called “The Lodge of the Eight Bears.” Deming collaborated with his wife to write and illustrate a series of children’s books, as well as illustrating a children’s book written by his daughter Alden. He died in New York City in 1942.

Deming’s paintings and sculpture are held in the permanent collections of over twenty major American museums.

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EDWIN WILLARD DEMING (1860-1942), Untitled northern plains lodge interior, probably Blackfeet, with seated figures and ceremonial buffalo skull in firelight, oil on board 16”x22”, signed E.W Deming lower right.

The romanticized painted pictographic hide tipi liner reinforces the solemnity and spirituality of the scene. The war-shirted male figure kneels on a painted buffalo robe with his decorated shield behind, painted parfleche cases ringing the perimeter of the tipi. Undoubtedly painted from Deming’s first hand experiences living with the Piegans. Deming, his wife Therese and six children camped and lived with the Blackfeet Indians in Glacier National Park in 1913-1914. Upon their arrival at Browning, the Demings witnessed the annual sun dance. The Demngs were at once adopted by the Blackfeet and Indian names were bestowed upon all. Mr. Deming was named Running Wolf and Mrs. Deming Strikes on Top. Deming took photographs of the ceremonies in the Sun Lodge as the medicine men were making prayers to the sun. Deming painted about twenty pictures of the mountains and scenes in Glacier Park. Moving pictures of ceremonial rites were also made by the artist during this trip, of which the present picture is a prime example. The decorated ceremonial buffalo skull indicates a likely sun dance related ceremonal. The Demings also lived for a time in a very large painted tipi at St. Mary’s Lake.
SOLD

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FRANK PAUL SAUERWEIN (1871-1910), Untitled, Mounted Ute Indian with Navajo blanket and eagle bonnet fording a stream at sunset, watercolor on paper 6 1/2” x 9 1/2”, signed ‘F.P. Sauerwein, 1900” lower right.

During a short lifetime of thirty nine years, Frank Sauerwein became a specIalist of western scene painting including southwest Indians in their landscape, Had he not died of tuberculosis in 1910 he likely could have become the seventh founding member of the Taos Society of Artists.
The son of painter Charles D. Sauerwein, he was raised in Philadelphia,studied at the Philadelphia School of Industrial Art, the Pennsylvania Academy of Fine Art, and the Art Institute of Chicago, subsequently moving to Denver in 1891, where he was active until the after turn of the century. In 1893 he accompanied the well-known Colorado artist Charles Craig on a painting trip to the Ute Reservation in southwestern Colorado, and spent the rest of the decade roaming and painting throughout New Mexico and Arizona. particularly the Grand Canyon, Keams Canyon and the Ganado Trading Post onthe Navajo Reservation while maintaining an intermittent residence in Taos.
In 1901 Sauerwein taught at a private girls school in Denver, moving to Pasadena briefly before returning to Taos in 1902. In 1906 he purchased an eight room adobe in Taos and today parts of the Taos Inn are located on Sauerwein’s property. Too ill to continue painting, Sauerwein moved to Stamford CT, where he died June 13,1910.
Collections: Phoenix Art Museum, Panhandle Plains Historical Museum, Eiteljiorg Museum of American Indians and Western Art, Museum of New Mexico, Sangre De Cristo Arts Center, Stark Museum of Art, The Newark Museum, The Denver Art Museum. SOLD

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BURT PROCTER (1901-1980), Untitled mounted Navajo, red sandstone, oil on board 12”x16”, signed Burt Procter, lower left, c. 1970. SOLD

 

FRANK JOSEPH VAVRA American (1892-1967), SOLD “Autumn Idyll, oil on board 24”x24” signed Frank Vavra lower right, titled verso on old Bailey, Colorado studio sticker, ca. 1928. Vavra, a student of eastern impressionist Robert Alexander Graham, was the leading native born impressionist landscape painter in Colorado in the twenties, and his style later evolved into regionalism, modernism and ultimately abstraction. got your lighting; got your color.

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GERARD CURTIS DELANO A Collection of Paintings by Gerard Curtis Delano (1890-1972) from an old Colorado private collection.
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“The Old Prospector, oil on board  8”x7”, signed lower right,
titled by the artist verso. 
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"At the Waterhole," oil on canvas over board 24"x28",
signed lower right. 
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"Snowin and Blowin'", oil on canvas over board 19"x24",
signed lower left
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"Pals", watercolor on paper 14"x18", signed lower right.
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"Moonlight", watercolor on paper 14"x18", signed lower right.

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Asa “Ace” Powell (1912-1978), Untitled mounted Blackfeet warriors, rising moon at twilight, oil on canvas 20”x24”, signed and with the artist’s device lower left.

The direct successor to the Charlie Russell/O.C. Seltzer tradition of Montana western painting, Ace Powell was raised on the south end of lake McDonald in Glacier National Park. The son of a cowboy and stable boss and quide and packer in the Park, he was a working wrangler by the age of ten. He then went to high school in Browning, MT on the Blackfeet Reservation, and worked as a cowboy breaking and wrangling horses. As a boy, he spent many hours watching Charlie Russell painting in the Bull’s Head Lodge. In 1938, after a few private art lessons, he became a self-taught artist sketching and painting what he knew best - the cowboy and the Indian and early genre of northwest Montana. He was an important catalyst in the development of the western art community in Kalispell and the Flathead Valley.

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LAURA GILPIN (1891-1979),  “a Navajo silversmith at work in 1934, vintage warm-toned silver print, signed and dated Laura Gilpin 1924 lower right on the mount, titled, signed, annotated on the verso, custom framed  to museum standards. As one of the few significant women landscape photographers in the history of American photography, Gilpin photographed the American southwest for more than sixty years, creating an extraordinary document of the land and its people... Her most successful, rewarding and historically important work was her documentation of the Navajo people, which culminated after more than thirty years of work on the reservation in her highly successful and critically acclaimed book, “The Enduring Navajo,”  One of her most  famous  portraits, the sitter despite his threadbare clothes, conveys a serene confidence and nobility.

With gratitude to Liz Kay for her writing and scholarship, *”Laura Gilpin Masterworks,” Andrew Smith Gallery, Santa Fe, ‘07

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ALFRED JAMES WANDS (1904-1998)  “Early Spring, Near Taos,” a rare early modernist landscape dating from the artist’s summer work in Taos in the30’s, oil on canvas 30”x36”, signed Wands lower left, exhibited  Cleveland Art Museum 1942 and bearing that institution’s exhibition label including the artist’s title, on the reverse.

Wands’ Modernist New Mexico subjects, which he produced during the eleven year span 1930-1940, when he spent summers in Taos with his family, are scarce and desirable. Distinguished by a strong stylistic vernacular equally regionalist  and modernist in character, they will remain his enduring artistic legacy,  despite his formulaic later work, the Rocky Mountain  scenics  which he produced  for sale to tourists in Estes Park, in the forties, fifties and sixties.  The present example is distinguished by an energized, fan-like composition emanating from lower mid-left.  The reductive ,simplified geometry of the land forms, and buildings  coupled with blocks of color recalls Higgins.   Wands had the good fortune to associate, study with and paint alongside some of the most important Northern New Mexico artists of the day, including Higgins and Ernest Blumenschein.

Raised in Cleveland, Ohio, Wands studied art at the Cleveland Art Institute, from which he graduated with honors. He subsequently spent six months in Paris studying at the Academie  Julian, and also studied in Brussels, Munich, and  at Western  Reserve  University. He returned to Ohio to teach, both at the Cleveland Institute of Art and the Cleveland Museum of Art.  And, during that time had numerous works accepted into the Carnegie Institute’s international exhibitions.  In 1930 Wands moved to Denver to direct the art program at Colorado Women's College, from which he resigned in 1947.  Wands served three times as  the  President of   the Denver Artists Guild and was the chairman of the Denver Art Commission for sixteen years.

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EDWIN WILLARD DEMING (1860-1942) Untitled plains indian woman watering horses at dusk, oil on panel 8”x10”. inscribed “to my dear friend McClintock, Deming,” lower right.

“McClintock,” - Walter McClintock, died 1949, was a noted ethnologist, writer and western explorer who spent years living with the Montana Blackfeet beginning in 1896, was adopted into the tribe, became fluent in their language and religion, and became perhaps the leading non-Indian expert on the life, culture and spiritual practices of the tribe. His authoritative book, “The Old North Trail, Life, Legends and Religion of the Blackfeet Indians, “ was published in 1910

EDWIN WILLARD DEMING (1860-1942), Important and well-known painter of Indian and animal subjects in the west beginning in 1887, sculptor, muralist, illustrator, writer. Deming grew up with Indian playmates in western Illinois. He studied at the Art Student’s League, New York, until 1884, then in Paris for year at the Academie Juilien. First western trip was in 1887, when he visited the Apaches and Pueblo Indians in the southwest and the Umatillas in Oregon. He exhibited his first Indian paintings in 1891. Deming’s murals of Indian life are in the American Museum of Natural History, New York and the Musuem of the American Indian. His paintings, Mourning Brave and Buffalo Hunt are in the National Museum, Washington D.C. and his bronzes, The Fight and Mutual Surprise are in the Metropolitan Museum of Art, New York. Deming works are also held in the permanent collections of the Amon Carter Museum, Fort Worth, TX., the Brooklyn Museum, the Explorers Club, National Arts Club, the John Herron Institute, Indiana, the Milwaukee Art Institute and many others.

 

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FRANCIS DREXEL SMITH (1874 Chicago, Il - 1956 Colorado Springs CO), early sketch of the Broadmoor hotel from Cheyenne Mountain, oil on stretched canvas 10”x14”, signed lower left; remnant of an old exhibition sticker on the verso.

Smith Came to Colo. Springs in 1901.  Studied Art Inst. of Chicago with John Vanderpoel; Broadmoor Art Academy with John Carlson, 1920-22.  Actively promoted Broadmoor Art Academy, served on committees in early years; trustee 1925-390 (President of the Board 1927-30, Art Advisor 1931.  Member: Professional Members of the BAA beginning 1922.  Exhibitions, BAAl 1920-23, 29-30,32,34; Denver Art Assoc. 1920; Denver Artists Society, 1924; Denver Art Museum 1926-28, 36,39.  National Academy of Design, 1922; Seattle Art Museum 1922,29 (prize); Carnegie Institute 1923.29; Kansas City Art Inst., 1924 (prize); Art Inst. of Chicago, 1931; Mississippi Art Assoc, 1932 (prize), Colorado Springs Fine Arts Center, 1938; New Orleans Art Assoc., 1940 (medal), Artists West of the Mississippi, 1941-45.  Work in the permanent collections of: The Art Inst. of Chicago, Colorado Springs Fine Arts Center, Colorado Springs Pioneers Museum, Dubuque Museum of Art, Kansas City Art Institute, Kirkland Museum of Fine and Decorative Art, Montgomery Museum of Fine Arts, the John H. Vanderpoel Art Assoc. biographical courtesy of Pikes Peak Vision, The Broadmoor Art Academy by Stanley Cuba and Elizabeth Cunningham.

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ASA “ACE” POWELL (1912-1978), Untitled Blackfeet encampment at twilight, oil on canvas 5”x7”, monogrammed lower left.

Ace Powell is the direct successor to the Charlie Russell/O.C. Seltzer tradition of Montana western painting. The son of a cowboy and stable boss, guide and packer in Glacier National Park, he was raised on the south end of Lake McDonald, and was a working wrangler by the age of ten. He went to high school in Browning, MT., location of the Blackfeet Reservation, and attended Montana State University in Bozeman and also worked as a cowboy breaking and wrangling horses. As a boy, he spent many hours watching Charlie Russell painting in the Bull’s Head Lodge on Lake Mcdonald. In 1938, after a few private art lessons, he became a self-taught artist sketching and painting what he knew best - the cowboy and the indian and early genre of northwest Montana. He was an important catalyst in the development of the western art community in Kalispell and the Flathead Valley

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CHARLES CRAIG, Pikes Peak Indian Painter (1849-1931)  “Indians on the Trail,”Oil on canvas 18 1/2x26,” signed Charles Craig lower right, ca. 1895, ex-Kennedy Galleries, NY.

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FRANK JOSEPH VAVRA, died 1967, highly sought-after Colorado impressionist, an  important large  view of Long’s Peak from Chasm Lake, oil on canvas 27”x44” sight,  signed lower right, ca. 1930;  the largest Vavra canvas we’ve ever encountered or handled.

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DAVID FREDENTHAL (1914-1958), A rare early modernist Colorado Springs Fine Arts Center picture,  untitled view of the  Colorado Springs front range,watercolor  on  paper 7”x10” sight, signed David Fred Fredenthal’ lower left, circa 1938.  This example displays a strong stylistic similarity to Fredenthal’s “On the Road to Pikes Peak,”  a watercolor published as plate 85 in “Pikes Peak Vision, the BroadmoorArt Academy,” by Cuba and Cunningham.  Fredenthal’s use of intersecting diagonals and planes points to the influence of senior American watercolorist John Marin. According to Lawerence A. Fleishman of Kennedy Galleries, “Fredenthal’s work expresses his excitement with life and living.  His watercolors are filled with enough energy and power to explode the space which contains them, to fill the room and the viewer with color and illumination.”

David Fredenthal received a Museum of Modern Art scholarship to Italy in 1935, studied at Cranbrook Academy of Art with Zoltan Sepeshy on a scholarship from1935-38.  Studied  with Boardman Robinson at the Colorado Springs

Fine Arts Center under a scholarship in1936, taught summers at the CSFAC, 1940-1941.  Fredenthal received a Guggenheim Fellowship, 1938-39. He was an artist correspondent for Life Magazine in WWII.  Painted murals at the Detroit Naval Academy, the New York Worlds Fair, 1939 and in US post offices in Caro and Manistique, MI.  Exhibited  NY World’s Fair, 1939, Whitney Museum of American Art, 1947, Detroit Institute of Art. Art Institute of Chicago, Columbia Univ. and Dartmouth College.  Collections: Metropolitan Museum of Art, Museum of  Modern Art, Yale University, Cranbrook Academy, Milwaukee Art Institute, Cincinnati Art Museum, Colorado Springs Fine Arts Center.

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WILL FRATES (1896-1969), Untitled Northern New Mexico village scene with church and figures, oil on masonite 24”x30”, signed lower right, ca. 1940. Frates was active as an artist in the San Francisco Bay area from the 1920’s while maintaining a studio-home in Hawward, CA. Equally facile with oil, watercolor and pastel, he painted landscapes of the motherlode country and the Bay area.  Member, Santa Cruz Art League, Society of Western Artists; exhibited California State Fair, Golden Gate International Exposition, California Palace of the Legion of Honor.  A published watercolor field sketch of Aroyo Seco New Mexico and a second, a variant pose of the present example, substantiate the fact that he painted in northern New Mexico.

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ALFRED JAMES WANDS (1904-1998)  “Sunflowers,” a rare early modernist still life dating from the artist’s summer work in Taos in the mid 30’s, oil on canvas 30”x25”, signed Wands lower left, exhibited Denver Art Museum 40th Annual Exhibition,  Chapell House,  1300 Logan Street, Denver, Colorado in 1934, and bearing that institution’s exhibition label with artist’s title verso.  From a private collection in Montana,  and in its original gilt frame.

Wands’ Modernist New Mexico subjects, which he produced during the eleven year span 1930-1940, when he spent summers in Taos with his family, are scarce and desirable. Distinguished by a strong stylistic vernacular equally regionalist  and modernist in character, they will remain his enduring artistic legacy, despite his formulaic later work, the Rocky Mountain  scenics  which he produced in the thousands for sale to tourists in Estes Park, in the forties, fifties and sixties.  The present example is distinguished by an energized, tension-filled composition and expressive palette and unusual perspective.  Wands had the good fortune to associate with,  study with and paint alongside some of the most important Northern New Mexico artists of the day, including Ernest Blumenschein.

Raised in Cleveland, Ohio, Wands studied art at the Cleveland Art Institute, from which he graduated with honors.  He subsequently spent six months in Paris studying at the Academie Julian, and also studied in Brussels, Munich, and  at Western  Reserve  University. He returned to Ohio to teach, both at the Cleveland Institute of Art and the Cleveland Museum of Art.  And, during that time had numerous works accepted into the Carnegie Institute’s international exhibitions. In 1930 Wands moved to Denver to direct the art program at Colorado Women's College, from which he resigned in 1947. Wands served three times as  the  President of   the Denver Artists Guild and was the chairman of the Denver Art Commission for sixteen years

 

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CHARLES PARTRIDGE ADAMS (1858-1942), Clearing Storm, Early Spring, Moraine Park, Estes Park, Colorado, oil on canvas 14”x20”, signed Charles Partridge Adams lower left, original frame, ca. 1895, ex a Loveland, Colorado private collection. 

 

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ROBERT ALEXANDER GRAHAM, (1873-1946) ,
Untitled Colorado autumnal view, oil on canvas 16"x20", signed Robert Alexander Graham lower right, ca. 1925

 

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HANS KLEIBER (1887-1967), a lovely and spontaneous untitled Wyoming mountain landscape, oil on board  8” x 9,”, signed lower right 1931

 

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ROBERT ALEXANDER GRAHAM ., (1873-1946), Untitled Colorado fall scenic with stream, oil on canvas 16" x 20", signed Robt. A. Graham: lower right, ca. 1925

 

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HELEN HENDERSON CHAIN died 1892, a rare and important pair of oval miniature oil paintings on ebonized panels,  Colorado scenics, from the 1870’s; “The Royal Gorge,” signed lower right Chain, 1878, and untitled mountain lake scene, signed lower right 1877, images approximately 6” x 4 1/2”, panels 10 1/2” by 5 1/2”.

 

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FRANK J. VAVRA (1898-1967)
Untitled plein air view, probably of the North Fork Of the South Platte River near Insmont, Colorado, oil on canvas over board, 16”x16”, signed lower left, ca. 1931

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WALTER SHIRLAW, N.A., (1838-1909), “Omaha Dance, Northern Cheyennes, Tongue River Agency, Montana, 1890 “  oil on mahogany panel 6”x10”, signed lower right,,

In 1890 Shirlaw traveled as a special agent for the U,S. government to Montana to prepare paintings and written reports on two Indian agencies, the Crow and Northern Cheyenne. His efforts were published in 1894 in the extensive document “Report on Indians Taxed and Indians Not Taxed.

Literature:
-Sandweiis, Martha A. “Print the Legend, Photography and the American West.”
-Saunders, Richard H. “:Collecting the West, the C.R. Smith Collection of Western American Art.”
-”The West Explored, the Gerald Peters Collection of Western American Art.”

Exhibited:
-Gene  Autry Western Heritage Museum, 1988-89

 

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THADDEUS WELCH (1844-1919)
Untitled portrait of a plains Indian painted from life in the southwest in the late 19th century, oil on canvas 15” by 12”, signed upper right Thad Welch and dated 1899

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WARREN E ROLLINS (1861-1962), Untitled New Mexico village scene, with blanketed figures and adobe, oil on canvas 14” x 8 1/2”, signed W. E. Rollins lower right.

Rollins, “the dean of the Santa Fe art colony, trained at the San Francisco Art Association School of Design, leaving to satisfy his intense curiosity and interest in the American Indian. His wanderings led from California and Oregon to the Dakotas, then through New Mexico and Arizona. By 1893 Rollins was painting in Taos. About 1900 he was one of the first painters admitted to the ceremonies of the Hopi, Crow and Blackfeet, and had a studio near El Tovar at the Grand Canyon. Rollins eventually established a permanent home in Santa Fe, taught painting classes at the Palace of the Governors, and served as the first president of the Santa Fe Arts Club. Works held in the permanent Collections: Santa Fe Railway Corp., Museum Of New Mexico, Santa Fe, Huntington Gallery, Los Angeles, Harvey House, Gallup, New Mexico, Phoenix National Bank.

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BIRGER SANDZEN (1871-1954) “In the Heart of the Rockes, Estes Park, Colorado,” Oil on canvas 14x16”, signed lower left, titled verso and dated 1924

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ROBERT WESLEY AMICK (1879-1970) untitled plein air Colorado landscape, high country range scene with distant foothills, oil on canvasboard 8 1/2” x 12 1/2” sight, signed lower left, circa 1940.  this work is distinguished by an agitated surface and a thick, palette-knife technique.

Born in a log cabin in Canon City, Colorado, Amick grew up in the

Colorado cattle country during the 1880’s, when the scene around him included the cowboy, the prospector, Ute and Sioux indians, the homesteader - all of the elements of the westerner’s stage.  Amick was educated in Canon City  public schools and at Yale, where he earned a law degree while also taking art courses. After practicing law in Ohio for two years, he gave up law for art study with private teachers and at the Art  Students League.  Athough successful with commissions from Harper’s, Scribner’s, The American and other publications, Amick felt that his most rewarding paintings would be of the west he knew, the mountains, brilliant sun and vivid colors. His works are held in the Gilcrease Museum, the Canon City Art Museum, also in schools, public buildings and homes in that community, and in many private western collections throughout the country.

bio courtesy, Hal and Peggy Samuels, Artists of the American West.

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BIRGER SANDZEN (1871-1954) “Riverbank, Smoky River, Oil on board 12”x10”, signed lower right Birger Sandzen, Titled in pencil verso, 1929

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FRED SHANE, born 1906, “Chalk Cliffs, Mount Princeton (Colorado), View from the old Hotel Antero,” oil on board 8 1/2” by 11”,signed F. Shane ‘44 lower right, titled verso, in its originalartist- crafted picture frame Fred Shane, born Kansas City, Mo;; studied with Randalll Davey 1923,1924,also with Davey in Santa Fe, NM 1924; Broadmor Art Academy with Davey, 1925, 1926; study in Spain and France, 19228-29; friends with John Sloan, Robert Henri.; became as associate of Thomas Hart Benton after they met in ‘35m and, like Benton, focused his aesthetic attention on rural American, representing the ordinary citizen. Taught: University of Missouri, 1932,33, 34,36, and from ‘38 to ‘71, and was department chairman 1968-1967 and professor emeritus of Fine Art 1971. Exhibited New York Worlds Fair, 1939-1940,  Associated American Artists, NY, ‘43 (one man), Art Institute of Chicago, Carnegie Institute, Corcoran Gallery of Art, Penna. Academy of Fine Art,  State Historical Society of Missouri, Columbia, 1982 (retropsective).  Works held: Nelson-Atkins, Kansas City, St. Louis Art Museum, Museum of Art and Archaeology, Univ. of Missouri, IBM corporate coll. and many others.

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CHARLES BUNNELL (1897-1968) United regionalist/modernist view of Pkes Peak from Colorado Springs, watercolor on paper 17” x 16”, signed and dated 1934 lower right.

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ZOLA M. ZAUGG, died 1975,
Untitled autumnal view of Pikes Peak, oil on canvas over board 12”x16”, signed lower right 1932

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RALPH WALDO EMERSON MEYERS (1885-1948)
Untitled late afternoon Taos landscape with mountains, sage, and shadows,, oil on canvas 8”x10”, signed lower right “Ralph Meyers 1916.”
Well-known early day Taos Indian trader, forest ranger and painter, Meyers painted some remarkable New Mexican genre and landscape paintings, and was, as leon Gaspard called him, one of the finest colorists of the period. Meyers grew up in Denver, where he appeared to have been heavily influenced by a number of prominent western artists and frontier personalities. After numerous visits to the southwest he moved permanently to Taos in 1909.and took a job as a fire guard on Taos land. He forged enduring friendships with the indians, opened a trading post in 1912, and had his first exhibition at the Museum of New Mexico, Santa Fe in 1917 Meyers was immortalized as the Indian trader Rodolfo Beyers in Frank Wanters’ book on early day Taos, “The Man Who Killed the Deer.”

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ANNA ELEIZABETH KEENER (1895-1982),
Untitled New Mexico regionalist style landscape with figures, oil on board 24”x30”, signed Anna Keener lower left, circa 1935.

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BIRGER SANDZEN (1851-1954), Untitled Moorise over
Coronado Heights, Lindsborg, Kansas, oil on canvas 18”x24”,
Signed lower right, ca. 1916-1918.

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BIRGER SANDZEN (1851-1954), Untitled Grahan County,
Kansas landscape and farm scene, oil on canvas 12”x18”, signed lower right Birger Sandzen, 1912

In 1906 Birger Sandzen’s in-laws, the Leksells, purchased a 480 acre farm near present day Hill City in Graham County, northwestern Kansas. The Sandzens were frequent visitors and occasionally stayed for some time. Wild Horse Creek located near the farm became a familiar subject for Sandzen’s paintings and prints, he seriously considered building a summer studio on the farm, and he is known to have spent several summers there and completed over 300 studies in and near the creek. On once occasion, while describing the beauty of the farm, he expressed the hope that it never be sold. “it is a fine piece of ground and we have plenty of good cottonwood trees and the most beautiful limestone in Kansas,” he said. The Leksells left their farm home to move to Lindsborg in the mid 20’s, but the property stayed in the ownership of Sandzen and his heirs for a long time afterwards.Additional provenance and documentation available.

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ORRIN SHELDON PARSONS (1866-1943),

“ Rio de Santa Fe,” oil on board 9”x12”, signed lower left, titled signed verso of frame and board “Sheldon Parsons Rio de Santa Fe, May, 1930.” An early impressionist Santa Fe landscape painter, Parsons studied at the National Academy with William Merritt Chase, and was a successful portrait painter of national celebrities in New York City from 1895 to 1912. Parsons came to Santa Fe in 1913, and painted intimate , charming, happy and serene scenes of town plazas, Indian villages, desert and mountains which set the standard for generations of artists who would later come to Santa Fe. He was also one of the founders and first director of the Museum of New Mexico.

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LLOYD MOYLAN (1893-1963) untitled southwestern landscape, oil on board 12:x14”

In all likelihood painted in New Mexico, this
oil sketch is distinguished by delicacy of color and choppy, agitatedbrushwork resulting in a heavily impastoed surface. This post-impressionist painting prefigures his regionalist modernist Deco flavored New Mexico work done in the thirties.

Lloyd Moylan was an important early Broadmoor Art Academy student and later instructor who went on to distinguish himself as a painter of Indians and the southwest in Santa Fe, and served as curator of the Museum of Navajo Ceremonial Art, the predecessor of the Wheelwright Museum. Studied, Minneapolis Art Institute, Art Students League and the Broadmoor Art Academy’ instructor, professional member and Vice President of the Broadmoor Art Acad., until 1931, then relocated to Santa Fe. Exhibited, Broadmoor Art Academy, Art Inst. of Chicago, Museum of Fine Arts, Santa Fe, Penrose Public Library, Colorado Springs, Co.

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ROBERT ALEXANDER GRAHAM (1873-1946) "Clear Creek," oil on canvas 14"x14", signed Robert A Graham, 1921 lower left, titled old Salamagundi Club (New York) Auction Label,verso.

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CHARLES PARTRIDGE ADAMS (1858-1942)
“The Gore Range and Mount Powell, watercolor and pastel, 7” by 10,” signed lower left, 19th century.

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CHARLES PARTRIDGE ADAMS (1858-1942) Untitled view of the Teton Range near Jackson Hole, Wyoming, oil on canvas 18”x24”, signed lower left, Late 19th century.

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FRANK J. VAVRA (1891-1967)
“View of Fairplay, Colorado and Mt. Silverheels,” oil on board 16”x20”, Signed lower right, titled verso, ca.1938

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LESLIE JAMES SKELTON (1848-1929)
“Mt. Princeton from Buena Vista, Colorado,” oil on canvas 12”x18”, signed lower right, a rare 19th century view of this Arkansas R. headwaters town along the Collegiate Range.

Leslie J. Skelton sutdied Paris, c. 1885, exhibited Paris, London, New York and Montreal. Word in the National Gallery, Canada, Perkins Art Gallery, Colorado College, Montreal Art Association A highly popular late 19th/early 20th cent. Colorado painter; arranged the 1900 art exhib at the opening of the Colorado College Gallery; member, Broadmoor Art Academy.

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GERARD CURTIS DELANO (1890-1972), “Lighting the Signal Fire, Sioux,” oil on board 12”x16,” title inscribed verso in the artists hand and also bearing the legend “sketch by Gerard Curtis Delano, 31 East 18th Avenue, Denver, Colo.” From a Cripple Creek, Colorado estate by descent, ca. 1935, in a custom deco frame.


Delano was an important traditional western painter known for his distinctive, elegantly designed and high key figural paintings of the American Indian, member Cowboy Artsists of America. Born in Marion, Massachusetts, the son of a sea captain, he began drawing Indians and horses by the age of four, trained at the Swaine Free School of Design near his home, and in 1910, became the pupil of George Bridgman at the the Art Students League in New York. He later attended the Grand Central School of Art where he worked under such noted artists as N.C. Wyeth, Dean Cornwell and Harvey Dunn, and afterwards was a successful commercial artist and illustrator there until the outbreak of WW I. He first came west, to the Blue River Valley of Colorado, in 1919, worked as a cow hand and in 1920 homesteaded and built a dirt-roofed studio. He commuted periodically to New York for commercial art assignments, moved west permanently to his homestead in the Rockies in 1933, and after 1940 was enabled to work full time. Delano works are held in significant private and public collections including the Smithsonian American Art Museum, the Eiteljorg Museum of American Indians And western Art, The Newark Museum, The Woolaroc Museum, and The Sangre de Cristo Arts Center.

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BIRGER SANDZEN (1871-1954), “Lake Vanern, Coastal Study, Lecko, Sweden,” Oil on canvas 12” x16”, signed, dated 1924 lower right, titled on the reverse.

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FRANK JOSEPH VAVRA, American (1892-1967)
“A March Day, Looking from Wide Acres Toward Boulder,1928,” oil on canvas 22’x29”, signed lower right “Frank J. Vavra, Colo., 1927, title inscribed by the artist, verso of stretcher; original whitewashed gilt carved frame crafted by the artist.

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BIRGER SANDZEN, Swedish-American , (1871-1954) untitled oil on board 8"x10", singed Birger Sandzen lower left center. Circa 1920. This painting is thought to be a study for or a variant of plate 19, Lindquist, "Cedars in the Foothills," a large oil in the permanent coll. of the Sandzen Memorial Gallery in Lindsborg, Kansas.

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GERARD CURTIS DELANO, Amer., Deceased
Navajos in the Canyon, oil on masonite 20"x24"
signed lower right.

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Historic early Colorado Painting by Charlie Stoble.

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ILA MAE McAFEE (1897-1995) Untitled Winter Sunset Scene, Taos, cica 1935, oil on board 6"x8", signed lower left.

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RALPH MEYERS (1885-1948), Plein air landscape, painted near Taos, New Mexico,oil on canvas over Board 10 X 13 inches, inscribed verso by the artist n pencil: "by Ralph Meyers, Winter of 1921, Early Spring of 1922"

Ralph Meyers was a well-known early day Taos Indian trader, forest ranger and painter who, without any training, did some remarkable New Mexican genre and landscape paintings and was, as Leon Gaspard called him, one of the finest colorists of the period.

Meyers grew up in Denver, where he was apparently heavily influenced by a number of prominent Western artists and frontier personalities, sufficiently ao, that after numerous visits to the southwest soon after the turn of the century, he moved to Taos in 1909 and took a job as a fire guard on Taos land. He forged enduring friendships with the Indians, and opened an Indan trading post in 1912. His first exhibition was at the Museum of New Mexico in Santa Fe in 1917. He was not a prolific painter as the trading post was was his livelihood. Meyers was immortalized as the Indian trader Rodolfo Beyers in Frank Waters's wonderful Book on early day Taos, "The Man Who Killed the Deer."

This information came principally from Dawdy, Doris Ostrander, Artist of the American West, Vol. II

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ILA MAE McAFEE (1897-1995) Untitled Winter Sunset Scene, Taos, cica 1935, oil on board 6"x8", signed lower left.

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FRANK JOSEPH VAVRA(1892-1967)

Untitled Fall Scene in the Mountains Near Baily, Colorado,
Oil on canvas laid down on board 11" x 13", signed
Frank J. Vavra lower right, circa 1928. A very painterly and harmonious plein air sketch by this sought-after Coloradoimpressionist.

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SVEN BIRGER SANDZEN (1871-1954)

Untitled Swedish Coastal Scene, oil on canvas 20" x24",
Singed lower left center, circa 1924, inscribed verso.

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SVEN BIRGER SANDZEN
Swedish-American (1871-1954) 

24" by 18"
Untitled Colorado mountain landscape, oil on canvas, signed lower left, ca. 1922, in pristine condition and presented in a hand-carved 22k custom frame.

Highly important modernist/colorist trained in Sweden and France, often regarded as the American Van Gogh because of his intense expressive colorism, muscular line and thick, prismatic paint application. Well-known for his highly original Rocky Mountain and Kansas prairie landscapes. Sandzen's work has appeared in over 600 domestic and international exhibitions, and the list of public institutions holding his work worldwide is very impressive.

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SVEN BIRGER SANDZEN (1871-1954) 

20" by 16"

"Twilight"
, Rocky Mountain National Park, Oil on board, ca. 1929

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WILLIAM PENHALLOW HENDERSON, American (1877-1943)   

11 1/2 " by 7 1/4"
Before Laguna Pueblo, pastel on paper, signed with the artist's monogram "WPH" lower right, ca 1921. This pastel is thought to be the study for an oil painting of the same subject owned by the Toledo, Ohio Art Museum.

William Penhallow Henderson was an important early Santa Fe, New Mexico painter, architect, builder and furniture craftsman. Henderson's mature style was characterized by a rhythmically designed modernism, a high key, emotive colorism, and compassion for his subject matter. Greatly influenced by Cezanne, Van Gogh, and Whistler, Henderson's paintings were always highly original and represented a distinctly personal feeling and spontaneity. His work was an inspiration to avant-garde as well as conservative painters in the Southwest.

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NELLIE AUGUSTA KNOPF (1875-1962), Glacier Park, Montana, plein air sketch, oil on canvas
Over board 8”x10”; signed N.A. Knopf, lower right,, ca. 1923-25.

Grew up in Chicago,  studied with Freer and Vanderpoel at the School of the Chicago Art Institute,.from which she graduated with honors in 1900; in the same year began a long association  with Illinois Woman's College (now MacMurray College), Jacksonville, Il. where, despite the handicap of being deaf, she was a teacher of art and for many years department head. Studied with J.F. Carlson,  and for eight years with Charles Woodbury, 1910-1918, at Ogunquit, Maine.  Knopf  began her western trips in 1921, going first to Colorado, where she did much painting around Colorado Springs.  From 1923 to 1924 and 1941-42 she utilized two sabaticals from MacMurray for travel, including study with Birger Sandzen at the Broadmoor Art Academy in Colorado Springs, and painting in Colorado, New Mexico, Arizona,  Texas and California and the Grand Canyon of Arizona  She later returned to the west and painted in Montana, then Mexico and eastern Canada.  Knopf was 80 years old when she announced that she had done "miles of paintings, some of them very good."  Knopf received an honorary doctorate of fine arts degree from MacMurray in 1935.  Stylistically, and although she has, in some circles, erroneously been called an impressionist, perhaps because of her penchant for plein air painting,  Knopf's work was decidedly regionalist/modernist in character,  and characterized by exaggerated line, muscular composition, and bold, expressive colorism.  

Exhibited: Penna Academy of Fine Arts, 1910-1918, 1925-29; solo exhib.
Indianapolis Art Assoc.., 1927, Art Inst. Of Chicago, 1920-1922, 1925-27, 1929-30, 1937, Corcoran Gallery Biennials, 1921-35, Washington, D.C., National Acad. Of Design, NY,  1926,St. Louis Art Mus., Albright  Knox Art Gallery, Buffalo, Omaha Art Museum, Denver Art Museum, Museum of New Mexico, Santa Fe, , Toledo Museum, John Heron Art Inst., Indianapolis,  Broadmoor Art Academy, Colo Springs, CO., Detroit Institute of Art;  New York Watercolor Club, American Watercolor Society, New York, MacMurray College, Jacksonville, Il.  Works held: Colby College, Waterville, ME, MacMurray College, Jacksonville, Il, John H. Vanderpoel Art Association, Chicago, Lafayette, Indiana Art Association, Loo Historic Colorado Collection, Colorado Springs, CO.

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HELEN GREENE BLUMENSCHEIN (1909-1989), , India ink, gouache and watercolor on paper: inscription on verso of old backing reads “Arr-------- Peak, Helen Greene Blumenschein, 1969, gift to Erlinda and David Maes, Ranchos de Taos, from Helen Greene Blumenschein.”

The daughter of famed Taos founder Ernest Blumenschein, in 1919 at the age of ten she was brought by her parents from New York to Taos, New Mexico. Interested in art from childhood, she graduated from Packer Collegiate Institute in Brooklyn, and then went to Europe with her  mother in 1929.  There  for more than two years, she devoted herself to her studies.  After resettling in Taos she studied lithography and silk screening part of each year from 1932 to 1934 at the Art Students League.

Blumenschein made sketching trips to Arizona, the Grand Tetons and other  western locations, but she focused mostly on New Mexico themes.  Working in oil, watercolor, lithography and silk screen, she participated in group exhibitions in Europe and the U.S. from the 1930’s, including the National Academy, Carnegie Inst., Paris Salon, Museum of New Mexico, Denver Art Museum and the New York Worlds Fair.  She had a two person exhibition with her father at the Stables Gallery,Taos in 1959, and a three person show with her parents at the Museum of Northern Arizona, Flagstaff, in 1979.

Bleumenschein was also a key member of the Taos Historical Society, a board Member of the New Mexico Archaeology Society, and an author of articles and books on the regions’ history and archaeology.

Public collections:  Carnegie Institute, Harwood Foundation, Library of Congress, Museum of New Mexico, New York Public Library and others.

Thanks to the Kovinicks and their wonderful reference on the leading female painters of the west for the bulk of this biographical information.

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FRANK VAVRA, died 1967, “Melting Snow, Estes Park, Colorado, (Winter Quiet)” oil on canvas 24”x24” signed lower right and titled variously on the artist’s  Bailey, Colorado studio stickers verso, ca. 1929, exhibited “Vavra Tryptich,” The Vance Kirkland Museum, Denver,CO, 2006. Frank J. Vavra (1898-1967) was the leading resident impressionist painter in Colorado during the the 1920’s and 1930’s.  The student of American Impressionist Robert Alexander Graham and John Thompson, an early Denver modernist and academic, Vavra became very popular for his beautiful, shimmering and dramatically lit impressionist paintings.   He later transitioned into the regionalist populist style so popular by the mid-thirties, and subsequently into partial and full abstraction. The finest example of Vavra’s mature impressionist technique we’ve been able to offer in our 30 years in the business, Winter Quiet is rich in brushwork, saturated color and  lighting nuances.  Additional high resolution images available.  Price on request.

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HARRY LEARNED (1844-1895) A rare and historically significant Birds-eye view of the silver mining boomtown of Robinson, Colorado, painted in a quaint, folksy manner, oil on canvas 16x27” sight, signed lower right Learned, ’87. Robinson was located about 5 miles north of present day Frisco along the banks of Ten Mile Creek ,and was a major mid way point for rail trans-shipment of silver ores and smelted metals to and from Leadville. Learned lived in Robinson from 1884-1888, the period of its greatest boom. A similar, larger version is in the permanent collection of the Amon Carter Museum, Ft. Worth, and a variant winter view is in the collection of the Denver Art Museum Detailed biographical on Harry Learned is available on request.

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Post Office Box 200008 Denver, CO 80220

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All images copyright Neal R. Smth Fine Art, 2016, and are not to be reproduced without out written permission.