Visions

Visions

2020

Visions 2020

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Dear Friends, are proud to present Zaplin Lampert Gallery’s 2020 Wecatalogue, Visions, featuring mid-19th to mid-20th century artworks of the American West.

At Zaplin Lampert Gallery, it has long been our position that a great picture, no matter the “pedigree” of the artist, will always be recognized as such. So, in addition to many of the wellknown and familiar names, such as George Catlin, Thomas

We hope that you will enjoy Visions, and please know how grateful we are, after all these years, to be able to call you our friends. Thank you for your enduring support, and for helping to make our work so gratifying.

Warmest regards and best wishes for your continued good health, and we look forward to hearing from you and seeing you again soon in Santa Fe.

Richard Lampert, Summer 2020

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Throughout our thirty-three years of experience specializing in early western and American art, our appreciation for it has never waned. I like to think that it is this consistency and stability, along with our dedication and the love of what we do, that has allowed us to raise the bar on the quality of the artworks that we are able to present to you, our clients and friends. Three decades plus has also enabled us to benefit from the many years we’ve spent looking at individual works and studying them – considering each artist’s hand and unique aesthetic signature. It has been both our mission and our pleasure to spend our days with the distinctive “visions” created by this select group of skilled artists. It is a privilege to see the western landscapes, and the peoples who inhabited them, through their eyes.

Moran, William R. Leigh, and Frank Tenney Johnson, we hope that you enjoy some lesser-known and under the radar artists whom we also consider remarkable. We suspect that the works of Francis Seth Frost, William McIlvaine, Frank Townsend Hutchens, Wood Woolsey, and Robert Gribbroek will have you (hopefully) asking the question, “Who are these guys?” Of course, being aficionados of western art, you will also recognize the works and the names associated with the famed Taos Society of Artists and the Santa Fe art colony, not to mention the distinctive photographs of Edward S. Curtis.

1846–1931

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Charles Craig

Indian Brave on Horseback c. 1895 Oil on canvas 71/2 x 107/8 inches Signed lower right

Francis Seth Frost

1825–1902

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Rocky Mountains c. 1860 Oil on canvas 14 x 20 inches Signed on verso

George Catlin

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1796–1872

George Catlin

1796–1872

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Left Mah-To-Toh-Pa c. 1845 Lithograph 173/4 x 121/8 inches Above Buffalo Hunt Under the White Wolf Skin c. 1845 Pencil 12 x 17 3/4 inches Right Wild Horses at Play c. 1845 Pencil and gouache 12 x 17 1/2 inches

1837–1926

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Thomas Moran

The Rock of Acoma, New Mexico 1902 Watercolor 137/8 x 197/8 inches Signed and dated lower left

William McIlvaine 1813–1867

Straits Connecting San Francisco Bay with the Sea 1851 Watercolor 8 x 121/2 inches Inscribed, signed and dated lower right 9

Samuel Colman 1832–1920

Colorado Canyon c. 1880s Watercolor 75/8 x 181/4 inches Signed lower right

Thomas Moran

1837–1926

“M

oran found no charm in the commonplace…. There was to him more inspiration, more picture, in a mountain-peak than in a hillside; in a gnarled and wind-twisted oak than in a row of cherry-trees; in a gorgeous sunset, banking the far end of a valley with crimson, than in a moorland fog.”

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These facts “serve to explain those recurring features of the sublime and the beautiful that characterize all the notable canvases he has produced.”

“Moran’s experiences with the two expeditions [to Yellowstone, 1871, and to the Grand Canyon, 1873,] whetted his appetite for adventure, and impelled him to make visits to various notable regions which combined the elements of beauty and grandeur and offered fit subjects for his brush…. He visited the South, and studied and sketched the blue skies and tropical vegetation of Mexico. Wherever he went he showed marked preference for the grander aspects of nature.”

– From “Thomas Moran, Painter-Etcher,” Brush and Pencil, Vol. VII, No. 1, October 1900

Eve in Cuernavaca 1918 Oil on canvas 243/4 x 195/8 inches Signed and dated lower left

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1866–1955

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William R. Leigh

The Water Bearer 1917 Oil on board 6 x 7 7/8 inches Signed lower left

William R. Leigh

1866–1955

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The Land of His Fathers 1912 Oil on board 111/2 x 143/4 inches Signed lower left

Walter Ufer

1876–1936

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“T

aos was his inspiration and I believe contributed most to his turbulently happy life. No need for a monument of stone to this man.

His works, in which are impressed as long as paint will last, his fine talent, his strong character, his love for beauty and excellent workmanship, these are monuments in many cities in our country’s most important art museums where thousands of people for hundreds of years will repeat the name Walter Ufer – and feel the charm and strength and joy that he put in his beautiful Taos canvasses.”

– Ernest L. Blumenschein, notes for a memorial service following Walter Ufer’s death (August 2, 1936). Archives of American Art, Smithsonian Institution

Sentinel of the Gorge c. 1925-1930 Oil on canvas 25 x 30 inches Signed lower right

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1868–1952

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Edward S. Curtis

Above Before the Storm 1906 Goldtone photograph in original frame 8 x 10 inches Signed lower right in the plate Right The Piki Maker 1906 Goldtone photograph in original frame 10 x 8 inches Signed lower right in the plate

Edward S. Curtis 1868–1952

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Edward S. Curtis

1868–1952

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“T

he Nez Percés were a prosperous people, and on special occasions dressed with great show.… The men parted the hair in two lines diverging from the crown to the temples, and braided it at the sides, the forelock being cut off at the level of the nose and curled upward with a heated stick. This form of hairdressing entirely disappeared about 1890, having been superseded by the pompadour instead of the upward curl.”

– Edward S. Curtis, “The North American Indian,” Volume 8, 1911

A Typical Nez Perce 1899 Platinum photograph

153/8 x 91/4 inches Signed lower right

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Eanger Irving Couse

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1866–1936

Taos Indian Hunters c. 1916 Oil on canvas 23 3/4 x 193/4 inches Signed lower right

Frank P. Sauerwein

1871–1910

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Pottery Vendor 1900 Oil on canvas on board 7 1/8 x 53/8 inches Signed and dated upper left

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W. Herbert Dunton 1878–1936

Return to Camp c. 1915 Oil on canvas on board 10 x 8 inches Signed lower left

W. Herbert Dunton 1878–1936

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Night Riders c. 1915 Oil on canvas 10 x 8 inches Signed lower right

Leon Gaspard

1882–1964

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A

uthor Frank Waters, who was also a friend of Gaspard, best summed up what the artist had accomplished: “Falconry in central Asia, dancing girls in Baghdad, sleighs dashing across the square in front of St. Basil’s Cathedral in Moscow, Mongolian bandits, camel caravans, a funeral procession in Peking…. When will there ever come again a time and freedom and scenes like these?... What other man has painted it?”

– Frank Waters, “Leon Gaspard,” 1964

Nizhny Novgorod 1911 Oil on canvas on board 10 1/2 x 12 inches Signed lower right

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1874–1952

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Oscar E. Berninghaus

Taos Indian Encampment c. 1920s Oil on board 83/4 x 12 7/8 inches Signed lower right

Oscar E. Berninghaus

1874–1952

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Late Summer – Taos c. 1930 Oil on board 91/2 x 111/2 inches Signed lower left

Frank Townsend Hutchens

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1869–1937

Portrait of a Taos Man c. 1931-1932 Oil on artist board 341/2 x 201/2 inches Signed lower right

Frank Tenney Johnson

1874–1939

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The Sentry 1929 Oil on canvas 24 x 18 inches Signed and dated lower left

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LaVerne Nelson Black 1887–1938

The Old Apache Trail c. 1937 Oil on canvas 28 x 36 inches Signed lower right

LaVerne Nelson Black 1887–1938

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Riders Before Yellow Aspens c. 1928 Oil on board 16 x 20 inches Signed lower left

B.J.O. Nordfeldt

1878–1955

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“N

ordfeldt certainly developed a point of view, and a method for expressing it, all his own. It was a point of view that was stern, uncompromising, far from facile in its expression, but rigidly honest, and it might be for all these reasons that Nordfeldt, to my mind at least, never got quite the recognition that was his due…. He was clearly a man of deep feelings and sound intention, well equipped technically; and at his best,… he produced paintings of commanding eloquence and power.”

– From The New Yorker, January 19, 1957

New Mexico Landscape

c. 1920s Oil on canvas 26 x 32 inches Signed lower center

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Joseph Henry Sharp

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1859–1953

Road Through Aspen Forest c. 1930s Oil on canvas 20 x 16 inches Signed lower left

Carl Redin

1892–1944

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Gold and Green c. 1930 Oil on canvas 291/2 x 271/2 inches Signed lower left

1868 - 1956

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Bert Geer Phillips

Nar-Ah-Kig-Gee-Ah-Tzur, Apache c. 1910 Oil on canvas 18 x 14 inches Signed lower right

Wood Woolsey

1899–1970

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Pueblo Indian c. 1928 Oil on canvas 25 x 21 inches Signed lower right

Willard Nash

1898–1943

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“H

is color sense was superb, and in 1931 Diego Rivera, the famed Mexican muralist, hailed Nash as one of the six outstanding artists in the United States. Rivera was one of the five jurors judging the San Francisco Association’s 53rd Annual Exhibition in which Willard won the Second prize, and he either wrote or was quoted as saying, ‘Nash’s work proves there is still personality in American art.’”

– From Marian F. Love, “Willard Nash, Painter,” The Santa Fean, October, 1981

View of Ranchos 1927 Oil on canvas 30 x 24 inches Signed on verso

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1897–1985

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Fremont Ellis

Nambe Adobe c. 1928 Oil on canvas 22 x 30 inches Signed lower left

Fremont Ellis

1897–1985

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Fall Aspens in Hyde Memorial State Park, Santa Fe 1925 Oil on canvas 30 x 40 inches Signed and dated lower left

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Theodore Van Soelen

1890 - 1964

“I

n scenes of the rural Southwest, the presence of vaqueros was a reminder that the ranching way of life and the rugged frontier west lingered well into the twentieth century.” [A lengthy stay] “on a Texas ranch offered the painter authentic insights into the life of the working cowboy, another theme he pursued in paint and lithography.”

– From Sharyn R. Udall on Theodore Van Soelen, “Santa Fe Art Colony,” 2006

Noon on the Diamond A 1956 Oil and tempera on panel 24 x 36 inches Signed lower right

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1881–1971

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Gustave Baumann

Singing Trees 1928 Color woodblock print No. 27 of 120 121/2 x 121/2 inches Signed lower right; titled lower left

Gustave Baumann

1881–1971

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Processional 1930 Color woodblock print III 56 of 75 123/4 x 123/4 inches Signed lower right; titled lower left

Andrew Dasburg

1887–1979

“D

asburg took his architectural lessons from early Braque and Picasso, themselves inspired by Cézanne’s example. More than any other New Mexico painter, Dasburg transferred that sophisticated knowledge of cubism to the southwestern landscape.”

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– From Sharyn R. Udall, “Santa Fe Art Colony,” 2006

“H

e introduced a sophisticated awareness of art as a revelation of the essential rhythms and structure of all matter. The subject of his painting was not the picturesque portrayal of land and people who he grew to love, but a quest for underlying aesthetic reality.”

– From Van Deren Coke, “Andrew Dasburg,” 1979

El Camino c. 1920 Oil on canvas 20 x 24 inches Signed lower right

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1903–1996

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Gene Kloss

Penitente Fires 1939 Drypoint and aquatint Edition of 50 111/2 x 141/4 inches Signed lower right

Maurice Sterne 1878–1957

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Taos Woman 1918 Charcoal 221/4 x 131/2 inches Signed and dated lower right

Robert Gribbroek

1906–1971

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“G

ribbroek’s early connection to New Mexico was with an Isleta Pueblo family in 1929, with whom he lived off and on for several years. He moved to Taos late in 1936. . . . [Alfred] Morang wrote, ‘Robert Gribbroek, one of the best draftsmen in America, has a command of geometrical form second to few. His works are startling in their exactness and precision and they touch on the order of the universe.’”

– From Tiska Blankenship and Ed Garman in "Vision and Spirit: The Transcendental Painting Group," 1997

Isleta 1932 Oil on canvas 24 x 301/4 inches Signed lower right

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Howard Schleeter

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1903–1976

The Card 1946 Oil on linen 32 x 24 inches Signed and dated lower right

Raymond Jonson

1891–1982

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New Mexico Landscape 1930 Charcoal 11 x 143/4 inches Signed lower right

Emil Bisttram

1895–1976

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“I

n 1938 in Santa Fe, a group of artists came together to do the exact opposite of what was expected of them: They ignored the stunning Southwestern desert landscapes, painted no tender scenes of traditional Indian life, and in general turned their gaze inward instead of outward. They called themselves the Transcendental Painting Group. The pictures they were making were completely abstract or mostly abstract, in the ‘non-objective’ vein.”

– From “Mystic Vistas,” Art & Antiques, August 2013

The Miracle 1950 Oil on canvas 45 x 40 inches Signed and dated lower right

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Š2020 Zaplin | Lampert Gallery Design Alex Hanna, Invisible City Designs Photography James Hart Color Separations John Vokoun, Fire Dragon Color

651 Canyon Road, Santa Fe, New Mexico 87501 505.982.6100 zaplinlampert.com

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651 Canyon Road, Santa Fe, New Mexico 87501 | 505.982.6100 | zaplinlampert.com