Katsushika Hokusai, japanese woodblock print.

Katsushika Hokusai 1760 - 1849

Kajikazawa in Kai Province, from the series Thirty-six Views of Mount Fuji, c. 1830-32

woodblock print

10 x 15 inches



The Great Salt Lake, Pioneer, Utah Art

Frederick Hawkins Piercy (1830 - 1891)

The Great Salt Lake, 1855

Steel engraving

9 x 12 inches


Handsome western scenes produced for James Linforth's Route From Liverpool to the Great Salt Lake Valley ... These engravings were executed after illustrations by Frederick Piercy, and are done in tones of blacks and greys.

View of the Missouri River, Council Bluffs

Frederick Hawkins Piercy (1830 - 1891)

View of the Missouri River and Council Bluffs From an Elevation, 1855

Steel engravings

9 x 12 inches



The engraving of the Missouri River and Council Bluffs show two crouching Indians in the lower left corner observing two wagons of Mormon settlers, as the Missouri River receeds in the distance.  A small log building smolders in the lower right foreground, alluding to the imminent danger the settlers may soon encounter. 


mormon pioneers, route from liverpool, Frederick Hawkins Piercy,

Frederick Hawkins Piercy (1830 - 1891)

Loup Fork Ferry Camp at Wood River and Camp at Wild River, 1885

Steel engravings

9.5 x 12 inches


The "Loup Fork Ferry" image shows a small, ramshackle log cabin beside a river.  Three covered wagons, horses, and settlers stand to the left of the cabin, while in the background anouther group of wagons crosses the river by ferry.  More wagons and settlers await the crossing  in the far distance.  


"Camp at Wild River" shows a large wagon train settling in for an evening beside a large grove of trees, while four cows laze in the foreground.  "Piercy made a special trip to America (in 1853) to make sketches for the plates, which are some of the best western views of the period." (Streeter) Taft describes Piercy's illustrations for Linforth's book as "one of the basic sources of illustrated Western Americana of the period." Two important images in the history of the West.  

James T. Harwood, Old BY Mill Liberty Park, Utah, J.T. Harwood, Utah artist, Utah art, Salt Lake City, Pioneer art

James T. Harwood (1860 - 1940)

Old Brigham Young Mill Liberty Park, 1885


3 x 4 inches

Signed and dated lower left



Harwood produced several paintings and etchings of the former farm and mill of Mormon colonizer Brigham Young, which later became Liberty Park in Salt Lake City.  This lovely, gem-like etching recalls the French Barbizon School training that Harwood received in Paris, and which he successfully translated into a celebration of rural life in Utah.  A late afternoon sun lights the cultivated fields, and on the mill's western adobe wall, as the days sets on land that is now part of an urban oasis.

Chief Joseph, Nez Perce, native american art, Elbrigde Albert Burbank, 1899,

Elbridge Ayer Burbank (1858 - 1949)

Chief Joseph, Nez Perce, c 1899

crayon on paper

13.5 x 10.5 inches



Thomas Moran, The Grand Canyon of 1912, Grand Canyon National Parks, National Parks, western art, chromolithograph

Thomas Moran (1837-1926)

The Grand Canyon of Arizona (from Hermit Rim Road), 1912


24 x 32 inches



Thomas Moran’s chromolithographs capture the grandeur and wonder of his watercolor paintings. Moran was involved in the production of the works, which involved a painstaking process which, due to its complexity and cost, went out of use in the 1920s.  The Grand Canyon of Arizona (from Hermit Rim Road) captures the luminosity and sense of manifest destiny of the original painting.



Japanese artists, ink on paper, Obata

Chiura Obata (1885 - 1875)

Windswept Tree on Mountain Top
ink on paper
15.5 x 20.75 inches



Chiura Obata was born in Sendai, Japan. At age seven, Obata began taking freehand drawing lessons from a local Japanese master artist. He continued his studies until age 15. He then studied at the Bijitsuin Art Institute in Tokyo.

He moved to San Francisco, California in 1903. During the 1906 earthquake and fire he made many sketches of the city in ruins. From 1912-1927, he illustrated for several local Japanese publications. In 1932, he moved across the Bay to Berkeley, and began teaching at the University of California. He remained in that capacity until 1954 (except for a period during 1954, when he was confined to a concentration camp in Utah).

Moved by his love of nature, he specialized in landscapes, portraits, still life images, and wood block prints. 

Obata died in Berkeley, California on October 8, 1975.

He exhibited at the Oakland Museum, Crocker Museum, University of Redlands, California Art Club, California Watercolor Society, University of Southern California, Santa Barbara Museum, and the San Diego Fine Art Gallery (now the San Diego Museum of Art).

Source: AskArt.com

Applegate, California painter,

Frank Applegate (1881 - 1931)

Spring at Chimayo, N.M. 


11.5 x 17.25 inches



Frank Applegate, like many of his colleagues in the newly formed New Mexico Painters group, was informed by the modernism sweeping America.  He focused on the geometric elements in nature, emphasizing them in his designs and employing them to convey emotion.  In this powerful scene, Applegate uses broad and vivid strokes to draw our attention to the dramatic clouds over the mountains.  Meanwhile, light filters through to illuminate the bucolic scene on the valley floor.

japanese woodblock print, Yoshida, Mt. Rainier

Hiroshi Yoshida (1876 - 1950)

Mt. Rainier, c. 1920's

woodblock print

16 x 21.25 inches



Hiroshi Yoshia, Grand Canyon, Grand Canyon National Park, western art, woodblock print

Hiroshi Yoshida (1876 - 1950)

Grand Canyon, 1925

woodblock print

10 1/4 x 15 5/8 inches



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.

James T. Harwood

James T. Harwood (1860 - 1940)

Sand Market in Cannes, France, 1927

colored etching

8.5 x 10 inches



Torii Kotondo, woodblock print

Torii Kotondo (1900 - 1976)

Nagajuban (Long Undergarment), c. 1929
Woodblock Print
18.5 x 11.88 inches



A dai oban print embossed on the lower margin, dated Showa yonen shichigatsu (Showa 4 [1929], 7th month), signed Kotondo ga, sealed Torii, lower left with embossed publisher seal Sakai-Kawaguchi go ban (Sakai Kawaguchi, joint publication), reverse with hand-numbered limited edition paper label Gaikoku-yuki ni-hyaku-mai kagiri zeppan, dai yonjuni-go, Torii Kotondo (for foreign export, limited edition of 200 printed, number 42, by Torii Kotondo) 

japanese woodblock prints

Kawase Hasui (1883 - 1957)

Umagome no tsuki (Moon at Umagome) Showa era (1926-1989), 1930 

woodblock print

15.5 x 10.375 inches

signed "Hasui"



An oban tate-e print of Umagome no tsuki (Moon at Umagome), from the series Tokyo nijukei (20 Views of Tokyo), dated 1930, with publisher cartouche of Watanabe Shozaburo

Ina Annette, Rock Candy Mountain, Utah

Ina Agnes Annett (1901 - 1990)

Rock Candy Mountain, Utah, 1931


9 x 13 inches



Influenced by her association with Georgia O’Keefe, Ina Annett (Annette)  (1901 – 1990) embraced modernism in her portrayals of the American Southwest.  She is listed in many publications, including Women Artists of the American West.  In this depiction of the southern Utah geological feature made famous by Wallace Stegner’s autobiographical novel Big Rock Candy Mountain, Annett employs semi-abstraction and deft brushwork to create a flowing, almost sinuous portrayal.

Kiyoshi Saito, wood block prints, Japanese woodblock prints,

Kiyoshi Saito (1907 - 1997)

Garden Tenryuji Kyoto, 11/80  1950

Sosaku woodblock print

28.2 x 21.5 inches


Lee Deffebach, collage, utah artist, utah art

Lee Deffebach (1928 - 2005)

Odd-Lot System, 1964

Newsprint, ink on paper

27.75 x 32.5 inches

Signed upper center




Odd-lot System echos national trends in mixed-media works, combining seemingly disprate elements of newsprint and line to creat vibrant composition rooted in a consciousness of time.  



Lee Deffebach (1928 - 2005)

Untitled, 1965


18 x 23 inches

signed lower left



The Volkswagen bug and bus were not only ubiquitous in American marketing but they are now iconic symbols of the 1960s.  Deffebach staggers the vehicles to create the illusion of space in the composition but she leaves her own mark by incorporating oil paint.  Her swatches of color are limited but serve to give the work balance and focus the viewer’s eye on the vehicles.


Deffebach’s collages coincide with the Pop art work of Claes Oldenburg, Roy Lichtenstein, and Andy Warhol, among others.  Springing to life just as the robust economy of the 1950s intersected with the burgeoning consumer culture of the 1960s, Pop art rejected the masculine work of the Abstract Expressionists, and instead included marketing schemes and advertisements.  Unlike its process-driven predecessor, Pop art could be made quickly and it shadowed America’s demand for novelty and convenience.   

George Dibble, landscape, utah artist

George Dibble (1904 - 1992)



22 x 30 inches



Chatham, lithograph, montana

Russell Chatham (1939 - )

Missouri Headwaters, February, 1985


34 x 45 inches 



This stunning work demonstrates why Russell Chatham is considered one of the art world’s leading lithographers.  One of the scenes in his Headwaters of the Missouri series, it exemplifies Chatham’s fascination with the spiritual qualities of spiritual qualities of landscape as captured by changing seasons and light.