Umetaro Azechi (1902-1999)
Snowman
Woodblock Print
11 x 16 inches (site)
$ 1,900.00
Holiday Sale $1,495
Wulf Barsch (1943 - )
untitled, 1986
lithograph (framed)
22 x 20 inches
$400
Holiday Sale $250
Carl Oscar Borg (1879-1947)
Hopi Village, Walpi, 1932
drypoint etching
7.50 x 7.50 inches
$ 4,750.00
Holiday Sale $3,250
Conrad Buff (1886-1975)
Zion, 1931
lithograph
12.50 x 17.25 inches
$5,000
Holiday Sale $2,750
Depicts the Great White Throne in Zion's National Park, Utah.
Signature
signed bottom right, titled and numbered (27/50) bottom left.
Lee Deffebach (1928-2005)
Art Song, 1994
found metal
11.50 x 8 inches
$ 450
Holiday Price $ 395
Lee Deffebach (1928-2005)
untitled, 1974
acrylic on canvas
55 x 44 inches
$ 15,000
Holiday Sale $9,500
Lee Deffebach (1928-2005)
Avalon, 1996
found metal
10.50 x 8 inches
$450
Holiday Sale $395
Lee Deffebach (1928-2005)
Two Chimneys at Tuscarora, 1986
Oil on canvas
7.50 x 9.50 inches
$ 2,000
Holiday Sale $ 1,495
Lee Deffebach (1928-2005)
untitled, 2000
wood
7.5 x 5.25 inches
$200
Holiday Sale $175
Helen "Lee" Deffebach (1928 - 2005)
Odd-Lot System, 1964
27.75 x 32.5 inches
Newsprint, ink on paper
Signed upper center
$1,500
Holiday Sale $795
Odd-lot System echoes national trends in mixed-media works, combining seemingly desperate elements of
newsprint and line to creat vibrant composition rooted in a consciousness of time.
George Dibble (1904 - 1992)
Valley Sunset #26
Watercolor
20 x 28 inches
$1,800
Richard Diebenkorn (1922 - 1993)
untitled (from Club/Spade Group '81-82), 1982/ 1986
lithograph
39.75 x 27 inches
$ 7,000
Holiday Sale $6,000
This work is from Eight by Eight to Celebrate the Temporary Contemporary, a portfolio of prints by eight artists produced to help raise funds for the Museum of Contemporary Art, Los Angeles (MOCA).
Signature
Signed, dated and numbered to lower edge ‘233/250 RD 82’ with blindstamps. This work is number 233 from the edition of 250 printed by Gemini G.E.L., Los Angeles and published by the Museum of Contemporary Art, Los Angeles.
Biography
Rising to prominence in the 1950s and 1960s, Richard Diebenkorn shaped an evocative style of post-war abstraction widely celebrated for its lyrical quality. A founding member of the Bay Area Figurative Movement, Diebenkorn explored the spaces between figuration and abstraction to great effect, creating distinct and critically lauded series initially inspired by epiphanic glimpses of aerial views of surrounding landscapes.
Born in Portland, Oregon, Diebenkorn’s family relocated to San Francisco when the artist was two years old, and he would spend the majority of his life in California. He began drawing at the age of four or five, and studied art at Stanford University beginning in 1940. In 1943, he enlisted as a Marine and served until the end of World War II. Upon completing his military service, Diebenkorn used the G.I. Bill to enroll at the California School of Fine Arts, where he would soon become a faculty member teaching alongside Elmer Bischoff, David Park, Hassel Smith, and Clyfford Still.
Diebenkorn’s first solo exhibition with a commercial gallery was in 1952, at Paul Kantor Gallery in Los Angeles. He went on teaching and creating work, crossing back and forth between strict abstraction and more representational styles. In 1966, Diebenkorn and his wife Phyllis moved to Santa Monica, California, and he took a teaching position at the University of California, Los Angeles. In 1967, he began his most famous series of paintings, the Ocean Park series, which comprised roughly 135 large-scale abstract works painted over an 18-year period.
Diebenkorn retired from UCLA in 1973, eventually settling in Northern California with his wife in 1988. Today, his works are held in the collections of the Metropolitan Museum of Art, New York, the National Gallery of Art, Washington, D.C., and the Fine Art Museums of San Francisco, among others.
Maynard Dixon (1875 - 1946)
Snake Kiva-Oraibi, 1902
pastel on paper
11 x 8 inches
$ 16,000
Holiday Sale $ 11,950
In 1902 Dixon accepted a commission for illustration work from the Santa Fe Railroad. In addition to being a source of income, it was an opportunity to retun to AZ, with which he had become enthralled on his first trip there in 1900. He accompanied photographer Frederick I. Monson in Los Angeles on his assignment to photograph the Hopi on their remote mesas.
It was, and remains, extremely rare for Anglos to be invited to reside with and observe the Hopi. Dixon spent considerable time in Hopi country, including a 1923 trip in which he convalesced for four months, living with Namoki, one of the snake priests, and his blind brother, Loma Himma. Dixon earned the trust of his Native American acquaintances and subjects through the years through showing them respect and displaying a genuine interest in their beliefs, practices, and cultures. Even though he worked an an illustrator of western subjects, he had disdain for romanticized, condescending depictions of all westerners. Here he has created an honest and admiring imaged of the Hopi village adobe architecture and ceremonial structure of the kiva.
Louise Richards Farnsworth (1878 - 1969)
Fall Tree
Oil on canvas
11 x 14 inches
$ 1,500
James T. Harwood (1860-1940)
Mount Timpanogos from Utah Lake, Utah, 1928
Oil on canvas on board
14.50 x 26.75 inches
Holiday Sale- Price Upon Request
Sekino Jun'ichiro (1914-1988)
Blue Roof Tops
27.375 x 18.375 inches
Woodblock Print
$1,950
Holiday Sale $1,400
Biography
Junichiro Sekino, a painter, graphic designer and a woodblock* print maker was one of the noted artists of the Sosaku Hanga* movement, an important current of Japanese art.
Sekino was stylistically and technically diverse: he easily switched from figurative to abstract art, from black and white compositions to colourful expression. He was also flexible with subjects. Sekino sometimes resorted to mixing Western and Japanese techniques in his works.
He grew up in Aomori City alongside Shiko Munakata, the future 'Japanese Picasso', studying printmaking and oil painting. 1936 brought him a Bunten award for his etching*, awarded by the government. In 1939 he moved to the capital, where he came across the Sosaku Hanga movement and studied under one of its fathers: Koshiro Onchi. He kept a dual direction of his studies: traditional Japanese woodblock printing techniques as well as Western ones, modeling himself on the great artists of Japan and West.
During the war Sekino worked in a factory producing ammunition, as artistic life in Japan in those harsh years had literally reached a standstill. After the war, Sekino struggled to survive producing book illustrations. The 1950's were a better time for Sekino, and he launched his first show in Tokyo in 1953.
His works were also exhibited outside Japan and bought internationally by such European and American entities as the Bibliothèque Nationale in Paris, the MOMA (Museum of Modern Art) in New York and The Boston Museum of Fine Arts.
In 1958 he received an invitation from the Rockefeller Foundation and the American Japan Society. From then on Sekino traveled and taught around the world. From 1965 he held a position at Kobe University." Source: Askart
Roy Lichtenstein (1923 - 1997)
Temple, 1964
lithograph
23.75 x 17.75 inches
$ 11,000.00
Holiday Sale $9,500
Albert Looking Elk (1888 - 1940)
untitled (Taos pueblo evening snow scene)
Oil on board
7 x 10 inches
Signed lower right
$2,000
Holiday Sale $950
This rare wintertime depiction of the Pueblo shows the artist's interest in broadening his palette.
Waldo Midgely (1888-1986)
The Hammer, c. 1930's
Watercolor
14.5 x 22 inches (site)
$ 5,000
Waldo Midgley (1888 - 1986)
Alligator and turtle
etching
3.75 x 5.5 inches (site)
$ 500
Henri J. Moser (1876-1951)
Bear Lake, Utah
Oil on canvas
24.50 x 30 inches
$9,500
Holiday Sale $8,900
Don Olsen (1910 - 1983)
unititled (Ink & Collage series)
ink and collage
20.25 x 27.25 inches
$ 7,000
Holiday Sale $ 4,500
Don Olsen (1910-1983)
Enigma Variation, 1976
acrylic on canvas
72h x 60w inches
$20,000
Holiday Sale $17,000
Sven Birger Sandzen (1871-1954)
Arroyo with Trees, 1925
lithograph
12h x 18w inches
$ 1,500
Holiday Sale $750
Birger Sandzen 1871 - 1954
Timberline Snow, 1925
lithograph
9 7/8 x 13.75 inches
$ 1,500
Holiday Sale $750
DESCRIPTION
A pencil-signed and titled vista of Pike's Peak, with cedars in the foreground. Executed on cream laid paper, in a wooden frame.
Birger Sandzen (1871 - 1954)
The Red Canyon, 1927
lithograph
17 x 22.25 inches
$1,500
Holiday Sale $750
DESCRIPTION
Pencil-signed and titled The Red Canyon is a view of the Colorado River, near Moab, Utah.
SIGNATURE
Pencil signed - title lower left and signed lower right. Printed signature and dated lower right.
BIBLIOGRAPHY
Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 117
Frank Anthony Smith (1939 - )
Scarecrow, 1983
43 x 55 inches
acrylic on canvas
$7,500
Holiday Sale $3,500
One art curator wrote that, "Tony Smith’s paintings are works in motion…abundant in visual and psychological intrigue…imbued with magic, possibility, and surprise.” A professor at the U of U from 1966 - 2001, uses illusionism, light, and color to create magical moments. Smith remarked that, “What is important to me is magic, literal magic, a sense that the world is changeable, surprising, that it’s more than you think."
Douglas V. Snow (1927-2009)
untitled, 1982
Oil on canvas
36 x 48 inches
Retail Price $12,500
Holiday Sale $8,000
V. Douglas Snow (1927 - 2009)
Cloud Webs, 3/31/1995
Oil on canvas
48 x 84 inches
$22,000
Holiday Sale $18,000
LeConte Stewart, 1891-1990
Jack's Ranch, Nevada, July 1930
Oil on canvas on board
12 x 16 inches
Holiday Sale Price Upon Request
Jack’s Ranch is located in Tuscarora, Nevada, roughly 45 minutes north of Elko by car. Like Maynard Dixon, Stewart was drawn to sagebrush for its hardiness and abstract patterns of growth. As a Tonalist, he went further than Dixon in portraying the shimmering silvers and grays that brought the desert alive for him. The humble ranch buildings, made of natural materials like clay and wood, were dignified and honorable in their survival against the elements and in their protection of the inhabitants.
Robert O. Davis wrote of Stewart’s attraction to the desert, “From boyhood, LeConte loved the deserts, mountains, and valleys of Utah’s uninhabited landscape, and found himself drawn to lonely scenes. Painting the arid countryside of LeConte’s youth brought out his early feelings of love and respect for it, and at the same time a forbidding fear, loneliness, and dreariness."
SIGNATURE
Signed, dated and location lower right
Reverse, title, date and label
PROVENANCE
LeConte Stewart Family by descent
CONDITION
Excellent
Leconte Stewart (1891-1990)
Porterville, Utah, c. 1950's
Oil on board
17.50 x 24 inches
Price upon request
Holiday Sale Price Upon Request
Porterville was a 30 minute drive from Stewart’s home in Kaysville up Weber Canyon along the route of the original intercontinental rail system. In 1950, it probably felt like traveling back in time several decades. Stewart readily admitted to arranging elements in a picture to create a design and feeling that moved him. In this somewhat disjointed scene, there is an abstracted quality to the field on the right that pulls us in and makes us question what we are seeing. After over a decade of heading the University of Utah Department of Art, Stewart well understood the influence of modern art, and here seems to employ some of its language within the paradigm of realism to which he was firmly committed.
Blanch Wilson (1922 - 2019)
Rosy Light of Morning, 1997
color woodblock print
10 x 12.5 inches (site)
6/50
$1,000
Holiday Sale $900
Hiroshi Yoshida (1876-1950)
Chikugo River, 1927
Woodblock Print
16 x 10.75 inches
First Edition
$2,500
Holiday Sale $1,250
Hiroshi Yoshida (1876 - 1950)
Grand Canyon, 1925
woodblock print
11.5 x 16.25 inches
$11,000
Holiday Sale $9,050
A romantic realist, Yoshida’s style resembles that of an English 19th Century watercolorist applied to Japanese themes. Yoshida is noted for subtle colors and naturalistic atmosphere. This stunning print captures the stark contrasts of light and shadow, red rock and white snow of the Grand Canyon in winter solitude.
Mahonri Young (1877-1957)
Pinon In Navajo Land
Etching
7.5 x 9.5 inches (site)
Framed: 16 x 18 inches
$5,000
Holiday Sale $3,495
