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Winter 2009 Catalog


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1. George Catlin. “Catlin’s North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America. From Drawings and Notes of the Author, Made during Eight Years’ Travel amongst Forty-Eight of the Wildest and Most Remote Tribes of Savages in North America.,” (London: J. E. Adlard, 1844 [1855–65] first edition, second issue). Complete folio with bound title page, introduction and text accompanying 25 plates lithographed by Day & Haghe, Lithographers to the Queen, in black, white and sepia tones (“in printed tints”) on heavy-weight paper. Original portfolio in three-quarter red morocco with green pebbled cloth, rope design embossing, gilt embossed decorative leather title panel, and gilt embossed titling on spine. Folio: 24 x 17 1/2." Sheets: 23 1/2 x 17 1/4." Catlin’s study remains one of the most widely circulated works on American Indians written in the nineteenth century, and the illustrations are valued for their highly important visual documentation of indigenous Indian life in the American West.

Price: $70,000. $60,000. [ More Info ]



2. A Rare and Unusual Image of Northern New Mexico.

Mabel Dwight. “Penitentes Church,” 1929. Lithograph. Image: 10 x 13 1/4." Sheet: 11 1/2 x 16." “Penitentes Church” is a striking departure for the artist—a scene devoid of figures that borders on an Expressionist representation. A snow-covered churchyard dominates the picture, with a simple adobe church behind, and mountains beyond. The rawness of the weathered crosses, their dynamic angles, and the sweeping mountains and clouds in the distance strongly contrast with the notion of a resting place.

Price: SOLD. [ More Info ]



3. Arnold Rönnebeck. “Rain in the Jemez Mountains, N.M.,,” 1931. Lithograph, no. 12 of 50. Image: 9 3/4 x 14 1/4." Sheet: 11 1/2 x 16." A robust three-dimensionality certainly underlies the dynamism in the lithograph offered here, in which the artist depicts a cloudburst over the Jemez Mountains of northern New Mexico. Rönnebeck conveys the fury of the storm through a series of interlocking diagonals by which he defines clouds and sheets of rain.

Price: SOLD. [ More Info ]



4. George Catlin. “Nord-Amerikas Indianer och de, under ett åttaårigt vistande bland de vildaste af deras stammar, uppefvade Äfventyr och Öden” (Stockholm, P.G. Berg, 1848). Large octavo. Complete with 23 lithographed plates, hand-colored and highlighted with gum Arabic. Original blind-embossed black cloth, 1/4 brown leather, gilt tooling and titling on spine, green decoration on page edges. The work is something of a hybrid of his two earlier works Letters And Notes On The Manners, Customs, And Condition Of The North American Indians (1841) and Catlin’s North American Indian Portfolio, (1844). The Continental editions of Catlin are considered scarce.

Price: $7,500. [ More Info ]



5. The Seminal Map of the Republic of Texas.

John Arrowsmith. “Map of Texas Compiled from Surveys Recorded in the Land Office of Texas and Other Official Surveys by John Arrowsmith” (London: John Arrowsmith, 1843 [1841]). Published in Arrowsmith’s London Atlas. Copper-engraved map, with bright original outline hand color. 24 1/4 x 19 5/8" at neat line. Sheet: 26 3/4 x 21 3/4" with full margins and original index tab cut-outs in u.l. and l.l. margins. The map immediately became the model for maps of the new republic and was copied extensively by other publishers. And while Texas was annexed to the United States in 1845 and the Compromise of 1850 reset the boundaries of Texas to their current configuration, maps of Texas with its Republic boundaries continued to be published, and even appeared in the London Atlas as late as 1858.

Price: SOLD. [ More Info ]



6. Charles Partridge Adams. “Arapaho Peaks, Vicinity of Boulder, Colorado,” [1899–1920]. Oil on canvas, 10 x 14." Gold leaf frame in period style: 15 1/2 x 19 1/2." Arapaho Peaks is a classic example of Adams’ mature Colorado period, for which he is famous. Here, Adams paints the luminous and forceful face of the peaks, with the surrounding landscape acting as a mantle—the whole having the distinctive effect of portraiture. While his work from later periods continued to reflect a very personal relationship with the landscape, Adams’ style became more characteristically Impressionist from 1920 on, when he moved to California.

Price: SOLD. [ More Info ]



Other New Offerings.


7. George Catlin. “North American Indians: Being Letters & Notes on their Manners, Customs and Conditions, Written During Eight Years’ Travel Amongst the Wildest Tribes of Indians in North America, 1832-39” (Edinburgh: John Grant, 1926). Two octavo volumes, complete with 320 color lithograph illustrations, including 3 maps, one folding. Original red cloth pictorial covers, stamped in black and gilt. This is a beautiful edition of George Catlin’s classic study of Native American life, which was originally published in 1841 as Letters and Notes on the Manners, Customs, and Condition of the North American Indians.

Price: $2,500. [ More Info ]



8. Arnold Rönnebeck. “El Monte Sol, Santa Fe, N.M.,” 1927. Lithograph (unnumbered). Image: 8 x 11 1/2." Sheet: 11 1/2 x 16." The present image is a powerful interpretation of a New Mexico landscape that reflects the artist’s love of the area and his aesthetic grounding in international modernism. This pastoral scene is dominated by twin peaks, rendered as large, impressive masses contrasted with the serenity of simple abodes and cultivated fields below. Where Rönnebeck’s later New Mexico landscapes often move with dramatic energy, El Monte Sol breathes with a sense of the enduring energies of the earth.

Price: Please inquire. [ More Info ]



9. Arnold Rönnebeck. “Rio Grande Canyon, N.M.,” 1931. Lithograph, no. 9 of 50. Image size: 9 1/2 x 14." Sheet: 11 1/2 x 16." A robust three-dimensionality underlies the lithograph offered here, in which the artist imposes an orderly geometry upon the canyon walls and surrounding mountains of the Rio Grande Gorge just south of Taos. Against these forms, he deftly juxtaposes stylized cloud patterns that read as flat abstractions in the upper third of the print. Even as Rönnebeck applies the tenets of modernist abstraction to his interpretation of the Rio Grande Gorge, he also conveys the sweeping grandeur of this particular vantage point in which the river appears to be flowing through a giant crack in the earth (and, geologically, the formation actually is a crack known as the Rio Grande Rift). He underscores the drama of the landscape through bold alternations of light and dark patterns.

Price: Please inquire. [ More Info ]



10. Arnold Rönnebeck. “The Sacred Mountain of Taos, N.M.,” (early 1930s). Lithograph. Image size: 8 3/4 x 11 1/2". Sheet size: 11 1/2 x 15 3/4". The mountain forms fairly writhe on the paper, communicating a sense of the living presence for which the mountain is legendary. At 12,000 feet above sea level, Taos Peak looms over the surrounding Rio Grande Valley, beckoning travelers who pass beneath its shadow. Legend holds that the mountain emits a mystical energy that can summon newcomers or send them packing.

Price: SOLD. [ More Info ]



11. A Superb and Rare Example by the Master of American Modernist Printmaking.

Howard Cook. “Taxco Market” (1932–1933). Etching and aquatint on japan paper from an edition of 30. 8 7/8 x 11 7/8" at plate mark. The skillful execution and empathetic mood of this rare and charming print make for a fine summation of Howard Cook’s printmaking achievements during a sojourn in Mexico, a time when his best work was accomplished. Cook created the print in 1932–33 during his first trip to Mexico, which was financed by a Guggenheim Fellowship.

Price: SOLD. [ More Info ]



12. Emil Bisttram. “Taos Indian Woman and Child,” 1934. Lithograph. Image: 15 3/4 x 12." Sheet: 19 1/2 x 15 1/7." Taos Indian Woman and Child is a penetrating psychological portrait. The mother is engaged in her own thoughts as she looks to the distance while her child seems to examine the viewer. Although there is no physical embrace between the two, one perceives a profound connection. The image is rendered with a cubist interplay of planes between the faces, blunt-cut hair and blanket folds, interconnecting the figures in a way that no posture could emulate.

Price: SOLD. [ More Info ]



13. Dale William Nichols (1904-1995). “Midwest Morning,” 1945. Lithograph. 9 7/8 x 12 3/8" at plate mark with full margins. The present lithograph depicts a farm scene on a winter’s night. A man driving a horse-drawn wagon sled surmounts the road that leads to his barn. The sky is black and heavy. Likewise, the rolling hills and snowdrifts are quite weighty. Through the indications of the landscape, there is a perception of the daily toil endured by the farmer.

Price: $3,200. [ More Info ]



14. Lucille W. Leggett. “Sacred Mountain,” n.d. (1940s). Oil on canvas board, 17 3/4 x 22." Frame size: 26 3/8 x 30 1/4." Working with the high-keyed palette and individualized brushwork of impressionism, Leggett conveyed the sun-drenched colors and pellucid light of the desert sky in paintings of adobe churches, houses, ranches, ghost towns, and natural features. In this view of Taos Peak, the mountain is rendered in deep blue with a pulsating rhythm above gently rolling and warmly toned foothills. A winding road leads through an aged ranch fence, lending a sense of human history and welcoming. With its bold and fresh brushwork, this painting represents a truly masterful work by this artist.

Price: SOLD. [ More Info ]



15. Lucille W. Leggett. “Taos Church,” n.d. [1950s]. Oil on canvas board, 16 x 12." Period gold-toned frame: 22 1/2 x 18 1/2." Working with the high-keyed palette and individualized brushwork of impressionism, Leggett conveyed the sun-drenched colors and pellucid light of the desert sky in paintings of adobe churches, houses, ranches, ghost towns, and natural features. She was particularly interested in the local way of life and its heritage, an inclination apparent in the present work, Taos Church. Leggett’s lively, bright colors suggest influences from the folk traditions indigenous to the borderlands of the United States and Mexico.

Price: $4,500. [ More Info ]



16. Morris Blackburn. “Adobe Mission” [Ranchos de Taos Church], 1962. Screenprint, no. 20 of 30. Image: 10 x 14." Sheet: 18 1/2 x 25." Adobe Mission is a wonderful modernist interpretation of the Ranchos de Taos Church by the Philadelphia artist Morris Blackburn (1902–1979). Noted for his ingenious use of printmaking materials and techniques, he was one of the first artists in the early 1940s to use screen printing for fine art prints.

Price: $4,500. [ More Info ]





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Catalogue prepared by Beverly Weiss and William R. Talbot, photography by Steve Walenta.