307 North Texas Street
Silver City, NM, 88061
505 699 5005
art of the southwest new mexico
Your Custom Text Here
Your Custom Text Here
Introduced to woodturning at the age of ten, this form of creative expression has stayed with me, on and off for the past sixty years. I took shop classes in grades 7 through 9 back in Virginia to use the school lathes as they were better than the one I had at home. Early projects back in the 60s and 70s were primarily lamps.
Prior to moving to New Mexico in 1991, I was an active member of the Front Range Woodturners in Colorado, and I contributed to the successful start-up of that group. I demonstrated lamp and plate making, hollow vessel turning, and gave a slide presentation on the various cell structures used in microscopic wood identification. I have studied and photographed microscopic cell structures in order to understand and expose the macroscopic features I like in a finished piece.
In 1989 I attended a woodturning symposium in Utah, and met some accomplished folks who inspired me to try new directions. I was introduced to green wood turning, and to hollowing wood into vessel forms, boxes, and bowls. The advantage of turning wood when it is green, or fresh off the tree, is that it is easier to cut, and can be given a rough shape and hollowed, then set aside to dry. This results in much less loss due to cracking. Cracking happens when the inside part of the wood is still swollen and wet, but the outside has started to dry, shrink, and crack. Plus, it is great fun to spin green wood and watch the shavings pile up.
As I learned green turning techniques, my attention focused closer to home for sources of wood. Having worked with dried domestic and imported timbers for years, the change to local sources was welcome. Windfalls, firewood piles, and deals with tree trimmers and other turners have turned up some fine pieces that are a treat to open up and expose the beauty within. Consequently my wood collection evolved from stacks of lumber to sometimes include barrels filled with water containing submerged pieces of green wood that had been trimmed to turning size. This would prevent their degradation due to uneven drying. Some woods, like Russian olive, developed a nasty odor from being submerged in water, but most were not affected that way. Many of my hollow vessels were modeled after memories of southwestern shapes. When good fortune came my way and I acquired green wood, I would mow through those pieces, rough turn vessels, and stack them in the work in process area to dry. Rough turnings from years ago piled up with the stacks of lumber that these days don’t see as much attention.
Around ten years ago, I visited the old hospital at Ft. Bayard near Silver City, NM. The hospital was being demolished and many parts of the building were out on the lawn and were being sold off by the demolition contractor. I picked up a couple of buckets of fire suppression sprinkler heads. These started me down the road of making things related to fire fighting, such as miniature hydrants. The hydrants started out as whimsical and with no particular design in mind. After a number of those, I started making models of different versions of real fire hydrants, as close to scale as I could. These were all miniatures, and some of them could be used for opening bottles. Then, to keep making things more complicated, I moved on to hydrant lamps.
My finishes are primarily penetrating oils such as tung and urethane oil blends. Some of the softer, lighter color woods will get a clear lacquer finish penetrating beneath the wood surface to set the color with as little change as possible, and to firm up the wood for ease of sanding and subsequent finishing. I use no stains or dyes, though I often do add some tint to the resin when casting wood with voids. I also use stabilizing resin to firm up rotten wood as well as pine cone cores.
For occasional cleaning, wipe the piece with a soft rag moistened with lemon oil or a furniture cleaner. As with any wood product of this nature, do not expose to direct sunlight.
Other than the lamps, please pick up these pieces and handle them to help form your own impression of their weight and balance. The bottom of each piece is finished, numbered, dated and signed. Thanks for your appreciation of my work; I trust that your choice will continue to please you through the years.
Exhibitions
1991-1995 Adobe Patio Gallery, Mesilla, NM
1992-1994 StudioW, El Paso, TX
1992 Mimbres Region Arts Council, Imagenes de Luz
1993 WNMU McCray Gallery
1993-1994 Clifton Train Depot Gallery
1994 Poudre Valley Art League 33rd Art Exhibition Second Prize
1994-1996 Whipples Art Gallery, Silver City, NM
1994 AAW National Symposium, Ft. Collins, CO – demo on hollow vessels
1994 Johnson Gallery, Bisbee, AZ
1999 Governor’s Gallery, Timber Exhibition
2005 Glenwood Red Dessert Social
2005 WNMU Museum Employee’s “Discovered” Show, Best in Show in Wood
2006 Mimbres Region Arts Council members show
2007 Mimbres Region Arts Council Hot Art, Best in Show with Jim Pepperl
2015 Common Ground Gallery, Silver City, NM
2016 Silver City Public Library display
2018-2021 Encore, Silver City, NM
2018-2020 Sterling Fine Art, Silver City, NM
2023-present The Curious Otter, Lake Placid, NY
2024-present Sterling Fine Art, Silver City, NM
Rough turned on Jan 9, 1992 and set aside to dry. Finished Nov 2023. It’s a thin ¼” on the sides, and thicker at the upper part of the bark rim to display more of the bark. I am almost out of the oak pieces I rough turned in the early 90s, with just a couple of very small ones left. I hope there’s another big one hidden in the trailer but I don’t think that’s likely. I no longer have a source for these. I had marked on the rough piece the date, and that the rough turn and hollowing took 3 hours. I don’t recall the rough turning process taking that long for most pieces, so something with this one presented difficulty and I wanted to make note of that. Or perhaps I was just extra careful to not lose this piece. Gray oak, 10-1/4 x 10-1/2 x ¼in. $950.
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
Oak – Rick O’Ryan
Forged Steel – Jim Pepperl
A dozen or so years ago, the village of Tyrone cleared some Russian Olive trees and I was able to get a couple pieces. This is a crotch from one of those trees. I rough turned and hollowed it in 2006. The main single trunk below, pith included, splits into two branches. Those branches are visible on the left and right sides. The bark void is characteristic of the crotch area between branches. I wanted to retain the bark as best I could, knowing that as I hollowed behind it, a hole would open up, so I saturated the bark with ca glue. I could not get far enough into this with the 1" bar that came with my Kobra hollowing system, so I had to use the one from Lyle Jamieson's captured arm system. Then I had to make a different holder for the camera on the Bosch Visualizer to get it out further to be above the cutting tip, 10-3/4 x 15-3/4in. $730
SOLD
I helped Gene and Phyllis Jacobs for close to 30 years, with workstation and network issues at their title company business. I left when network technologies passed me by… Back in 2004, Gene took me out to Hurley, NM to his childhood home. There was an apricot tree at that house, that Gene had climbed in as a kid. The tree had been taken down and the current owner made Gene welcome to come get some of the wood. We selected a couple pieces. This one is a crotch from that tree. This cut shows the two branches at the top, and the main stem at the bottom. I rough turned it to approximately this shape, and set it aside to dry. During drying, a crack developed that ran the length of the piece. To keep it from exploding in the process of finish turning, I mixed some fine ground azurite in epoxy and pressed that into the full length of the crack and some more in the small divots left at the crotch when the bark broke off. With the epoxy in place, the sound this made as the tool was applied with the wood spinning no longer screamed of imminent danger, yet careful attention was called for, including standing outside the line of fire. 8 x 13 x ¼in. $1040.
Back in the early 90s I started a planetary series with Saturn in mind. I rough turned nine pieces, because at the time Pluto was still a planet and in many of our minds it still is. I turned each of them on two axes, and carved off the material at the intersection of those axes. I knew that for the finishing process, after the pieces dried, that I would repeat using those two axes. I successfully finished eight of them, and sent one to another turner who finished it and sent it back to me. This is one of the ones I finished... it is gray oak. $930.
In the early 90s I started a planetary series with Saturn in mind, with a ring. I rough turned nine pieces, because at the time Pluto was still a planet and in many of our minds it still is. I turned each of them on two axes, and carved off the material at the intersection of those axes. For finishing, after the wood had dried, I repeated that process using those same two axes, as close as I could get to them. I finished eight of them, and sent one to another turner who finished that one and sent it back to me. This is the sixth of the series, finished in 2013. The tannin swirl reminded me of a horse head. For this one, I removed the bark from the ring. which was facilitated by it being a spring cut. The darker neck inlay is from a tannin saturated part of the same wood. 8.7" at the largest diameter x 6.7" high. Finished with wipe on poly. Gray oak, Quercus grisea. $930.
A study in tannin... The darker color is from the iron - tannin reaction. This was turned to finish, then fumigated over ammonium hydroxide, or anhydrous ammonia, for 24 hours. This is an ages old process used to darken white oak furniture, rather than using stain or dye. The ammonia reacts with the tannin and darkens the wood. $590.
Cleared by the City of Fort Collins, Colorado, back in the late 80s, this silver maple tree was dropped off at the Colorado State University wood lab. Parts of the tree exhibited a noticeable curl. I obtained this piece while attending a turned wooden lidded container workshop with Kip Christensen and Lee Carter in Ft. Collins.
This piece displays the nicest curl I have seen in silver maple. Curl of this quality comes at a price, and I was fortunate to get this piece. Note how light refraction changes as the piece is rotated. Like tiger eye stone, the bowl's surface has a three dimensional appearance.
This bowl with the large undercut rim has been in my own collection all this time, having made an appearance in Sterling in 2019. I had two more pieces of wood from that tree, one of which I made into a similar piece as this but it did not have as distinct a curl. I decided it’s time to offer it up. $770
SOLD
Gambel oak, collected on a firewood permit from the 2014 Signal Peak fire area. Turned green, allowed to dry and move. I then filled with resin and leveled the crack inside, and sanded the inside smooth. I chose a red tint to the resin to suggest the fire around this tree. The bottom is still quite textured from the movement along the curls of the wood in this crotch area between the two trunks of the tree. The movement of the wood during drying can be felt along the rim. Tung oil finish, 13-7/8 x 2-11/16in. $630 SOLD
Second mesquite in this series of six oak and three mesquite pieces that I started 30+ years ago. The use of a tool that is new to me has made it fun to do these again. The process of connecting with my thoughts and intuitions of three decades ago has been tickling my fancy. It has also been fun to work on pieces that can be "finished" in a day, as opposed to the 50 or so hours that I put in a hydrant lamp.. That "day", of course, does not include the gathering of the wood, the rough shaping and hollowing process, nor the oiling and additional sanding and polishing that inevitably follows the lathe work. 8-1/2 x 3 x 3/16". The camera shutter could not wait for fire guy holding the business card to make it into the pic in time. $550
Cleared by the City of Fort Collins, Colorado, back in the late 80s, this silver maple tree was dropped off at the Colorado State University wood lab. Parts of the tree exhibited a noticeable curl. I obtained three pieces from this tree while attending a turned wooden lidded container workshop with Kip Christensen and Lee Carter in Ft. Collins.
The three pieces displayed varying degrees of curl. The first one I finished back in the early 90s and recently I finished the other two.. Note how light refraction changes as the piece is rotated. Like tiger eye stone, the bowl's surface has a three dimensional appearance.
This one is slightly larger than the one I finished back in the 90s, 14-3/4 x 2-7/8 x ¼in. $570
The character in this burl is unusual in the pieces I have come across. It is more characteristic of burls in the midwest. This is some species of oak, I suspect Gambel, but unlike most of the pieces I rough turn and hollow, I write the species and the date on it. Not this one. So it was a mystery to me. But I sure like the character of the eyes in this burl, 8-5/8 x 6-3/4in. $770
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
Cleared by the City of Fort Collins, Colorado, back in the late 80s, this silver maple tree was dropped off at the Colorado State University wood lab. Parts of the tree exhibited a noticeable curl. I obtained three pieces from this tree while attending a turned wooden lidded container workshop with Kip Christensen and Lee Carter in Ft. Collins.
The three pieces displayed varying degrees of curl. The first one I finished back in the early 90s and recently I finished the other two.. Note how light refraction changes as the piece is rotated. Like tiger eye stone, the bowl's surface has a three dimensional appearance.
This one is slightly larger than the one I finished back in the 90s, 14-3/4 x 2-7/8 x ¼in. $630.
Rough turned and hollowed in July 1993, set aside to dry. Finished in July '23. Gray oak. In revisiting these works in progress, I try to see what I had in mind when I did the rough turning. Does the design I apparently had in mind still appeal to me, or could I impose something new to it? In most of these cases, I stick with what I still see in the rough turned piece. In this case, I did all I could to preserve the character of the opening at the top. When Gray oak forms this character it is one of my favorite woods to work with. The tree appears to send tannin to the injury and these swirls form where the tannin gets deposited. 7-1/2 x 7in. $550
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
In 1990 I attended a lidded container workshop, hosted by Lee Carter, at CSU in Ft. Collins. Lee was doing research into bending wood after soaking it in Amway soap. I acquired three pieces of curly silver maple at that event, from a Ft. Collins city tree. This is the third and last piece, rough turned in August 1990. It's been dry, waiting for a finish turn for a few years... 8 x 5in. $440.
Back in May 1992, a Wisconsin friend of mine visited down here in southwest New Mexico. He was a wood worker, but not a wood turner, and I never expected him to become one as he had other interests. However, I prevailed upon him to get on the lathe and try his hand at rough turning two pieces of green wood into hollow vessels to prep them for drying. We worked on them together. The two pieces went back to WI with him, to end up forgotten in a cardboard box in his storage locker. On my recent trip to WI we found them in the locker and got a good laugh, and he said, these need to go back to NM with you. I agreed, and told him that he would get one of them back as a finished piece. This is gray oak, 6-5/8 x 7-1/4 x 1/4in. $560.
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
The sound of a chainsaw gets my attention, whether it is being used for constructive, or destructive purposes. I heard one being used in downtown Silver City, back in 1992, on an ash tree at 505 W. College Ave, which has Smith Real Estate as its current occupant,. The tree being cut had some rot at the base, hence the decision to bring it down. I offered to help, if I could collect several pieces of the wood. This came from that tree, and was rough turned in 1992 and set aside to dry. 6-1/4 x 5-3/4 x ¼in. $390.
Back in the 90s I got some mesquite but did not care well for the raw wood, which ended up in my firewood pile. Most of the wood I got back then went into water barrels until such time as I could work with it - but not so this piece. After years in the burn pile, I salvaged it, as faulty as it was, as I could not bear to burn it. At some point between then and now, I turned a shape on the outside, and since it was already dry, I did not bother to hollow it, and left it in my pile of work in process. In 2023 the squirrel that got my attention was this one, so I finished the outside, and hollowed it. Some ca glue helped keep parts of this from breaking loose. Like much of the wood I work with, it's best to not stand in the line of fire when the wood is spinning. 7-1/2 x 7-7/8 x 1/4in. $740.
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
The third, and largest, in the set of four made from a long dead and mostly dry oak branch. Much of the exposed wood on this branch had been bleached by the sun to barnwood gray. It is 13 x 17 x 3/8in and it presented the biggest danger of coming apart. Hollowing the inside was hairy... there were four larvae and at least 27 ants that came out of it, not counting the ones made indistinguishable by the cutting tips. The chickens got the two big larvae. It stands 17in high, and measures 15-1/4 down to the inside bottom. Underneath, I concave cut the bottom of the base so that there was about 1" of material at the center of the bottom. I usually try to make that thickness at the center of the base the same as the walls, but for this one I wanted a little more weight at the base for stability, and because I chose not to press my luck. Finished with a tung and urethane oil blend. $1250
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
The second of the four areas of interest in the long dead and dry oak I recently acquired. I wish there had been enough material around it to identify the species. In the area are gray, emory, and a few gambel oak. There may be others scattered but based on the wood alone, I can't tell which it is. Like the one before, and both that will follow this post, it was a challenge to work with this knowing it could fly apart with any tool catch, or even without. This one ended up being the thinnest wall of the four, at 8-1/4 x 7-1/8 x 3/16in. Thin was not my goal - balance, and keeping the piece intact were my goals. It has a tung and urethane oil finish. N/A
The last of this set of four vessels made from a long dead and dry oak branch. The branch may have been discarded by firewood folks long ago. Since the wood was dry, hollowing was quite a challenge due to the preponderance of faults, cracks and voids. But, all four held together. Note on the lower left where the branch entered, and on the upper right where it exited. Unfortunately there was no material from which I could identify the species of oak. 8-3/4 x 7-1/4 x ¼in. Finished with a tung and urethane oil blend. $740.
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
Thirty years ago, in March 1994, I got this apricot from a tree on Romero St, in Hurley, NM. It was a crotch, already split as the tree had died. I knew each step of this one would be a risk and require techniques I would have to make up as I went. A filler in the cracks by itself does not make a strong bond, so this would require extra attention. During the rough turning, I had it wrapped with glass fiber and epoxy. For the finished crack, I did not want to do bowties or stitches across the gaps so I put a ballon inside, and filled the crack with azurite and first epoxy, then finished it off with ca glue. I made an aluminum ring for the neck, and fitted and glued that in place before the apricot burl neck went over the ring. The neck is from a small apricot burl I acquired much more recently and subsequently used for some bolos. 7 x 11-3/4in. $740.
The Crayon. This is my Arizona walnut (native to NM) interpretation of a circa 1905 "Standard" hydrant by the Crane Co, Chicago. The light switch is in the right port but at the request of a lefty I can move it to the left hose port. The penta-bolts are salvage, from an ebay store. Two of them are converted into penta-nuts. The penta-nut on the power switch has a set screw gripping the head of the rotary switch. There is a walnut octo-washer on top of the bonnet, under the top penta-nut. The piece serving as a chain hanger under the bonnet flange is salvage from a bike chain. 8-5/8” diameter, x 16-3/4in to the base of the harp. $1602.
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM
Back in the 1970s and 80s, I made a half dozen or so lamps in the style of a fiddle in the round, most with strings. A regular customer of mine dubbed these as mello cellos. I know the whereabouts of only two of the old ones from the 70s, and one of those has strings. I've always liked the design, so I decided to make some more. What's a 4 decade gap, anyway. I did do a couple of bottle openers in this style, no strings, but they did not have the complexity of the lamps. Fortunately I have found quality hardware so I'm not limited to the Leviton stuff I used to use. When I find quality hardware, if I need one for a current project, I tend to buy twenty to get a price break. So that means lamps are here to stay for a while, either hydrant, or fiddles. This one that takes the 43 year hand off is mesquite, with African blackwood (a rosewood) for the neck. I used ukulele pegs for the finial and the switch. It stands 16-7/8 to the base of the harp. No. 1107. Some folks have had trouble making the jump from a fiddle to one in the round, so for them, I say, look at the shadow. $1490
The first three lamps I made in 2021 were in the “fiddle in the round theme”, and are basically similar to the first fiddle lamp series I did 40+ years ago, with, of course, minor differences. This one is the fourth in this series and has a significant change. There are four strings, ranging from 62 gauge to 24 gauge (guitar strings use a different gauge definition than other wires), and they extend below the neck across the waist and are attached to the lower belly. This one is a mesquite and steel stand up bass for a gear head. The bolt hardware is stainless steel from the inventory of an old airplane mechanic who is no longer with us. The bolts have a hole through the thread area, so four of them became tuning pegs. It would seem that the holes in the threaded end of the bolt are for security wires so their nuts don't get lost if they vibrate loose. The steel forged disc is from the scrap collection of my blacksmith friend JP, as is the pipe that serves as an end pin under the bottom belly. The pipe is welded to the disc on the under side and the disc is bolted down into the base. To maintain the right distance between the string and the neck, the neck is bigger in diameter on its lower end than the previous lamps, and I cut flats on the upper belly to clear the strings. I could have shaved a flat off the back of the neck, but did not think of it. Do not pluck the strings, this is not a musical instrument. If the strings come loose from being plucked, the repair is extensive and I'm not even sure how I would do it. 6" in diameter at the base, and stands 20-3/4in high to the bottom of the harp. The harp has 4in vertical adjustment range to facilitate fitting a shade. The switch has a bolt head on top, as does the finial. I enjoy setting the lighting up to feature the shadow. $1490, without shade.
This is my interpretation of the Mueller wet barrel, LA Sleeve Van Deventer style single port hydrant. A wet barrel hydrant is sometimes used in locations that do not experience frost, and is always charged with water under pressure. A hose port on one side of the barrel will have a valve to control that nozzle on the opposite side of the barrel. This is blistered red maple from Wisconsin. I gave the port cap and the valve body some extra character with a burr bit on a flex shaft carving tool. The lamp switch is the penta-bolt head on the valve body opposite the hose port. Base 7in diameter, stands 15-1/2in tall to the base of the harp. $1490.
The Daigle D67M fire hydrant with two hose nozzles, or ports, was made by Concord, in Canada, now known as Clow Canada. This is a choice hard maple burl with a void up one side. To fill the void, I cast the cylinder in a mold. with red tinted chilepox – red chile flakes in epoxy casting resin. For the base, no tint, just chilepox. If the red streak up the side makes you think of fire, it's a good thing your lamp is a hydrant. The switch is in the right nozzle, but for a lefty it can be moved to the left port. The base is 5-3/4in diameter and the lamp stands 15-1/8in to the base of the harp. The harp has close to 4in of vertical travel for flexibility in choosing a shade. $1602
Available for purchase at Divine West - 135 W Palace Ave, Suite 104, Santa Fe.
http://www.firehydrant.org/pictures/clow-canada-daigle-concord.html
Mesquite, from Oro Valley, AZ. This hydrant lamp is modeled after the Mueller Super Centurion, made in Alabama. The bottom flange, barrel, top flange and bonnet are all one piece, no joints. With the two hose ports, the two pieces in the pumper port, the penta bolt heads on the port caps, the penta washer above the bonnet, the penta bolt finial, and the false bottom, there are eleven pieces of wood. The base is 6" diameter, and the lamp stands 14-1/2in to the base of the adjustable harp. The harp has close to 4in of adjustment to match a desired shade. The lamp switch is in the pumper port cap. $1600
SOLD
Emory oak, of the red oak group. The tree had rot at the base, which caused it to come down. There are some real nice colors near that rot. The emory oak is the large, semi live oak in the Burro Mountains, the southwest part of the Gila National Forest. There were many faults and cracks, so after drying it the rest of the way, I cast this in epoxy casting resin. My intent was to not feature the resin, and have it blend in with the colors in the wood. This hydrant is modeled after a design produced by Glamorgan Works, of Lynchburg, VA, which was patented in 1897. The base is 5-1/2in diameter, and 13-3/8in to the base of the harp. It is 8in across the port cap nuts. The lamp switch is in the right port, activated by the port "penta-bolt head". For a lefty I can move the switch to the left port. $1765
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
http://www.firehydrant.org/pictures/glamorgan-pipe+foundry.html
It's only an urn if cremains are what you put in it. Otherwise, it's an impractical box, or simply a fun, hollow, standalone model of an antique hydrant. It's an interpretation, with turners license, of the 1880s Ludlow List 75 hydrant. I was asked a while back if I had done, or could do, an urn, with 30-50 cu in capacity, and one day I may do one that size. I got out of control with this and went bigger. This is apricot, on an Arizona walnut base. The access is the funnel ready 3/4" valve control rod hole in the bonnet. The hole is tapped to 3/4-10 threads and has a penta-bolt with helicoil bringing it up to that size. Internal capacity is around 130 cu in. The base is 7-1/8in diameter and the piece stands 18in tall, with around 8" across the port caps. The base is a round from a dead branch, with multiple cracks and rot. Some epoxy in the cracks, and thin ca on the rot, and it is solid. I hollowed the base and cut the bottom out of the hydrant, making it a “pipe” so that added to the internal capacity. $1600
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
A mesquite interpretation of the RD Wood / Mathews tall bonnet model hydrant, made by Kennedy Valve Co after they bought out RD Wood. There was a variety of tall bonnet versions made; this one is from around 1962 and has fluting all the way up the bonnet. This measures 9in across the hose ports, and stands 14-7/8in to the base of the lamp harp. The switch is actuated by turning the pentanut on the pumper port cap. $1600
This is my apricot interpretation of the Kennedy K21 hydrant. I cast the very faulty, old, dry, cracked, discarded by someone else, apricot crotch cylinder in epoxy resin, with a little blue in the resin. I did not want to feature the resin very much, and, most of it ended up on the shop floor. The exception was a crack in the base which did not fill with casting resin. So there I brought out the color, with the same blue chalk line powder set with ca glue. It's 8in across the ports, and stands 15-1/2in to the base of the harp. The switch is in the right port, but for a lefty I can move it to the left port. $1602
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
This is a lamp for a conehead. It’s a large Coulter pine cone from California, a lot of urethane casting resin, and an Arizona walnut base. It has a touch sensitive switch to turn on the bulb. The harp has 4" of travel for vertical adjustment to fit a shade. Base is 7" diameter and the lamp stands 15-1/8" to the base of the harp. Around eight years ago I bought a number of Coulter cones, along with chir and Jeffrey cones from an ebay store that operated out of southern California. I cast this cone with a little red tint in the urethane casting resin. The resin was not a deep pour resin but I got away with it. The riser just below the harp, and the finial, are from the core of a smaller Coulter cone. $1712
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
This is my Arizona walnut impression of a Traverse City (Michigan) Iron Works hydrant. This one is the Mae West version with just two hose ports. The lamp switch is in the right port cap, though for a lefty I can move it to the left port. This wood came from the standing dead part of a tree and was quite faulty and took some resin to fill the cracks. This had some nice crotch figure toward the outside of the cylinder I started with. That character changed some as I cut in, and contrary to a habit I like to stick to, I cut flutes into the active grain so one must look harder to see it. The base is 6-1/4" diameter, and the lamp stands 18" to the base of the harp. $1602
Available for purchase at Divine West - 135 W Palace Ave suite 104, Santa Fe NM.
Steve Collins is an experienced landscape photographer in the southwest with extensive image processing work. He utilizes a unique system that involves generating multiple images of his intended scene and then skillfully stitching them together to create exceptionally large panoramas. This meticulous post-processing technique allows him to capture a broad perspective of the landscapes, from the mundane to the droll, the majestic to the sinister. Through his work, he effectively showcases the diverse and captivating facets of the southwestern region, creating compelling visual narratives that resonate with viewers.
WEST December 2021
As we all know photography is a very fast medium. 1/100 of a second or so produces an image to start working with. What we do next whether in the darkroom (now considered impossibly slow) or digitally can be many things - for some it’s just making the latent image look exactly like what it came from in that 1/100 of a second. For others, it’s a starting point to alter, enhance, add or subtract detail or knowledge about the original. When someone takes a photo of Uncle Phil and Aunt Edna at a party, the viewer (usually an interested party), will say “oh, it’s Phil and Edna”. Of course, it’s not Phil and Edna, but a likeness of them. When Ansel Adams took a photo of El Capitan in Yosemite, even though his methods were infinitely more involved than a Phil and Edna snapshot, often the result was the same; someone said it was El Capitan. Adams, of course knew what he was doing as an artist and wanted that 1/100 of a second image to be representative of El Capitan and be transcendent in such a way as to become a more extraordinary version of itself.
My interest in photo imagery has nearly always been to make the image something other than what it started out to represent. Whether it was so hyperreal that the pores on someone’s skin became as important as the portrait, or the panoramic landscape was so large and vivid that a tiny insignificant cluster of leaves became the center of attention. Sometimes my interest has been to make the clear seem to not be so - something dreamlike and not fully remembered. Other times I have been interested in taking the techniques used in commercial imagery and using them to make the insignificant seem more important.
One of my favorite photographers is Eadweard Muybridge who in the late 19th century proved that a galloping horse had all four hooves off the ground at one point. He went on to do important series including Human Locomotion and Animal Locomotion using banks of cameras to capture the motion of simple movement. Science, but also great photography! Using my interpretation of his work, I set up a gridded backdrop and had motionless nudes take their own photos. Fake science, hopefully, good photography.
This current work of panoramic landscapes draws on several interests. First and foremost is scale. As in much of my other work, I’m using panorama and size as keys to attracting the viewer to see large and wide. This now seems to be normal vision to me. Next is subject - these images foretell that you will be looking at something grand; often however the foreground subject is flat and neutral and the drama is way to the back. Of course, sometimes it’s the other way around. Lastly, I have pushed the colors slightly toward monochromatic to further move the images from reality toward the other-worldly. ~ Steve Collins
Selected Exhibitions
2004
Verve Gallery, Santa Fe, New Mexico (Solo Exhibition)
1983
Workbench Galley, New York City (Group show, furniture)
1980
Museum of Modern Art, San Francisco, “Beyond Color”
Santa Fe Gallery of Photography (Solo exhibition)
Newport Harbor Art Museum, Newport Harbor, CA “New Acquistions” and “Fabricated to Be Photographed” Art Museum, University of New Mexico, “Fabricated to Be Photographed”
1979
Castelli Graphics, New York, “Pictures/Photographs”
Light Gallery, New York, “Four from California”
Museum of Modern Art, San Francisco, Group Show
ARCO Gallery for Visual Arts, Los Angeles, Solo exhibition
1978
Susan Spiritus Gallery, Newport Beach, CA
Pennsylvania State University, Solo exhibition
Focus Gallery, San Francisco, Solo exhibition
U.C. Davis, Davis, CA, Solo exhibition
Univ. of Montana, Missoula, Montana, Solo exhibition
DeYoung Museum, San Francisco
“Bent Photography- Eight California Photographers” one-year touring
exhibit of Australian Art Museums
Selected Publications/Reviews (1974-1980)
Village Voice
Art Week
American Photographer
Museum Photography
San Francisco Chronicle
Catalog-Fabricated to Be Photographed
Catalog-Beyond Color
Catalog-Blue Sky Gallery
Collections
Newport Harbor Art Museum
Susan Spiritus
Bank of America
Atlantic Richfield Corporation
Bank of London
Joseph P. Carr
William Coleman
Timothy Dwight Hobart
Formerly represented by
Verve Gallery, Santa Fe, New Mexico
Castelli Graphics, New York City
Susan Spiritus Gallery, Newport Beach, CA
Douglas Elliot Gallery, San Francisco
Workbench Gallery, New York City
Unnaturals: Open Pit Mines
Open pit mines, usually copper, but also gold, silver, molybdenum and others dot the American southwest and northern Mexico. Sometimes located where towns have been built around them, and sometimes very remote, their scale can be immense. They often remake the landscape entirely and can have their own extraordinary beauty and majesty.
Archival pigment print . 22x30 . $1900 ($1500 unframed)
archival pigment print . 4x22in . $720 framed ($520 unframed)
archival pigment print coated. 13x42in . (1/5) . $4300
archival pigment print . coated . 22x72in . (1/5) . $6600
archival pigment print . 7x22in . $720 framed ($520 unframed)
archival pigment print . 7x22in . $720 framed ($520 unframed)
archival pigment print . 7x22in . $720 framed ($520 unframed)
San Luis Valley, Colorado . archival pigment print . 7x22in image size . $720 framed ($520 unframed)
East of Columbus, New Mexico . archival pigment print . 7x24in image size . $720 framed ($520 unframed)
Near Dell Lake, Texas . archival pigment print . 7x24in image size .$720 framed ($520 unframed)
Organ Pipe National Monument, Arizona . archival pigment print . 7x22in image size . $720 framed ($520 unframed)
Sahaurita, Arizona . archival pigment print . 7x22in image size . $720 framed ($520 unframed)
San Bernardino Wildlife Refuge, near Douglas, Arizona . archival pigment print . 7x22in image size . $720 framed ($520 unframed)med)
signed archival pigment print . 6x6in . unframed . $85 . $150 framed
signed archival pigment print . 6x6in . unframed . $85 . $150 framed
signed archival pigment print . 6x6in . unframed . $85
signed archival pigment print . 6x6in . unframed . $85
signed archival pigment print . 6x6in . unframed . $85
signed archival pigment print . 6x6in . unframed . $85
signed archival pigment print . 6x6in . unframed . $85
archival pigment print . 41x13 . $850 or 90x42in . $1300
archival pigment print . 41x13 . $850 or 90x42in . $1300
archival pigment print . 41x13 . $850 or 90x42in . $1300
archival pigment print . 41x13 . $850 or 90x42in . $1300
archival pigment print . 41x13 . $850 or 90x42in . $1300
Archival pigment print . 22x30 . $1900 ($1500 unframed)
42x32in . mounted with protective coating . $3200 framed
Archival pigment print . 30x22 . framed $1900 ($1500 unframed)
archival pigment print . 58x42 . framed $6400
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1500 unframed
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1500 unframed
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
Archival pigment print . 22x30 . $1900 ($1500 unframed)
It was 16 degrees below zero in Burning Springs Kentucky, when my mother gave birth to me in front of the fireplace. The wet washcloth my Father had placed on my Mom's forehead froze within seconds. At 2 years old my family of nine moved to Tabernash Colorado. The first winter we all lived in a railroad box car where the honey bucket froze within minutes. I adapted to the chilly world around me by becoming an A-1 ski racer winning many awards and ultimately competed in both the Junior and Senior Nationals. Between myself and 3 of my brothers we brought home over 100 medals and brother John made the U.S. Olympic Team.
I played in the snow during the winter and MUD during the summer. When I was 8 yrs old I made my first pot and have loved Art and Clay ever since. I have a K-12 Fine Art Degree from the University of Northern Colorado with over 100 hours in Art and a teaching certificate. I taught Art in Colorado for 5 yrs, and moved to Alaska in 1976 where I lived for 38 years in Girdwood. I worked as an Art Resource Teacher for 16 years and built my pottery studio which included two cone 10 gas reduction kilns. I opted for an early retirement from teaching which allowed me the time to become the Master Mudhead I am today. In 2014 we moved lock, stock, and 16,000 pounds of fire brick to Wind Canyon, Silver City New Mexico.
I have won several Juried Art Shows in Colorado, Alaska, and New Mexico. I have been a full time professional studio potter for over 30 years. These days you will find me in my studio where I am creating signature glazes, new forms, innovative textures, and mastering multiple techniques. My happy place is in my studio (the just let be tree is out back.)
~Letha Cress Woolf
ceramic . $360 SOLD
double sided lid . ceramic . 10in tall . $600
ceramic . 7.5in tall . $225
ceramic . 8.5in tall . $250
ceramic . 7in tall . $200
ceramic . 8in tall . $180
ceramic . 11in tall . $400
kissing turtles . ceramic . 9in tall . $270
ceramic vessel and lid . 9in tall . $300
ceramic vessel and lid . 8in tall . $250
ceramic vessel . 15in tall . $500
two lids for the ceramic vessel . 9in tall . $180
ceramic seven piece set . $480
ceramic vessel with lid . $240
soda fired . $90
ceramic . $360
ceramic . $45
lidded jar . fired to cone 10 (2300 degrees F) . 9x9in . $300 . SOLD
fish in ocean textured . ceramic . SOLD
ceramic pot and lid . 7x7x7in . $350
(second image)
cracked casserole with four turtles . soda fired . 9x9in . SOLD
wheel thrown and hand built . raku fired . SOLD
wheel thrown and hand built . raku fired . $240
wheel thrown and hand built . raku fired . $280
wheel thrown and hand built . raku fired . 17x15in . $260 . SOLD
wheel thrown and hand built . raku fired . $280
wheel thrown and hand built . raku fired . SOLD
wheel thrown and hand built . raku fired . $240
raku vase . glazed interior . $275
glazed interior (may hold water) . $225
raku . $225
ceramic . $165
ceramic . $135
raku crack pot vase . 9.5x8in . SOLD
$120
$85
$85
$70
dragonfly and Mimbreño storm . soda fired . 12x7in . $450
(second image)
ceramic . $225
Mimbres design . gas fired cone 10 . 9in diameter . $200
Mimbres design quail family plate . fired cone 10 . 10in diameter . $200 . SOLD
plate . fired to cone 10 . 9.5in diameter . SOLD
hand drawn warriors with slip . gas fired cone 10 . 5.5x9in . $180
ceramic vase . $160
black and white vase . fired cone 10 . 8.5x7in . $200
dandelion . gas fired cone 10 . 18x8in . $175
(first of two images) black and white vase . fired cone 10 . $300
(second image)
raku fired vase . 9x5.5in . $180
raku . $310
raku . $240
soda fired ceramic . cone 10 . 9x8in . $175
ceramic . $300
textured ceramic . $240
tall vase . soda fired . 16x8in . SOLD
sandhill cranes . soda fired . Southwest Bird Show Award . 8.5x6in . $300 . SOLD
(second image)
lidded handled jar . salt fired $150
large bowl . gas reduction fired cone 10 . 5.5x13in . $225
I have enjoyed painting, drawing and printmaking since childhood.
Generally my work is representational, representing Mountain streams, water scenes, landscapes, figures and portraits and a few trips into surrealism. Living In Albuquerque, at an early age I was able to experience the works of the Taos Seven artists. Much of their work could still be found in Restaurant lobbies and at Galleries in Old Town and Santa Fe. Paintings by the likes of Ernest Blumenschein, E. Irving Couse and William Dunton were especially influential in my appreciation of what painting was all about. When in College I enjoyed the works of Chuck Close, Harmony Hammond (who taught drawing at UNM for two Semesters ) and Frank Stella. Some of my most influential Professors were Nick Abdalla for drawing and painting, Garo Antreasian in Lithography, John Sommers for painting and lithography and Harry Nadler for drawing and two dimensional design and composition.I was also very lucky to have the the privilege of taking The History of Photography from Beaumont Newhall .
My latest work, represented in this show, is inspired by my love of the West and Southwest, its mountains and Streams, the desert, the Gila Wilderness, Olympic National Park and The Grand Canyon. I hope you enjoy.
Born July 15, 1950, Sacramento , CA
Family moved to Albuquerque, NM in 1954
Graduated from Del Norte High School 1968
Earned a Bachelors of Fine Arts at the University of New Mexico 1981
Have been a resident of Silver City since 1986
acrylic on stretched canvas with masonite border . 34x43in . $4200
So many views under an ever changing light, I will never tire of experiencing, painting and drawing that amazing landscape!
acrylic on canvas with masonite border . 44x33in . $4200
A nice little pool of water on Meadow Creek. I've enjoyed many a hike and overnight camp out on this creek in the Gila National Forest.
acrylic on canvas . 38x62in . $8000
Inspired by one of my favorite streams for fly fishing, Hermosa Creek in the San Juan Mountains of Colorado just north of Durango.
acrylic on canvas with masonite border . 44x33in . $4200
Below the Willow Creek Campground, nice hiking and fly fishing.
acrylic on canvas with masonite border . 33x42in . $4200
A vista from the north side of Taos looking northeast.
acrylic on canvas . 73x30 . $6000
About two and one half miles down the Jones Hole Trail on the north side of Dinosaur National Monument you will arrive at Ely Falls. A nice little side creek of Jones Hole Creek just above the Ely Creek Campground.
edition of 10 archival giclée prints available . $200ea
original color pencil drawing on archival paper . 24x18in . $2400
[edition of 10 archival giclée prints available, 10%smaller . $200ea]
As I was hiking up the creek I came across this pool just as a little frog jumped into the water.
edition of 10 archival giclée prints available . $200ea
edition of 10 archival giclée prints available . $200ea
edition of 10 archival giclée prints available . $200ea
edition of 10 archival giclée prints available . $200ea
Tony Bonanno is an internationally acclaimed photographer based in Santa Fe, New Mexico. His subjects have ranged from the President and First Lady of the United States to indigenous peoples and their cultures, to capturing the beauty and rhythms of running horses in his acclaimed “Hooves & Dust” series. He has photographed extensively throughout the United States, as well as working on assignments and personal projects in Europe, the Caribbean, Mexico, Central America, South America, Cuba, Australia, and Africa.
His fine art photography has been featured in numerous galleries and museum shows throughout the US and abroad. He is an instructor at the Santa Fe Photographic Workshops, lectures at various academic institutions, and conducts classes and programs for enthusiast and professional organizations.
limited edition (7/15) archival pigment print . image size 13.5x20in . $1550 unframed
limited edition archival pigment print . 19.5x14in . $1550 unframed . SOLD
limited edition archival pigment print . 14x19.5 . $1800 . SOLD
archival pigment print . 20x22in . number 2 of 10 signed and numbered of The White Horses of the Camargue series . location is Saintes Maries de la Mer, France, May 2015 . presentation is classic soft black wood frame, archival materials, white cotton mat . $3000
limited edition (7/15) archival pigment print . image size 14x20in . $1900
AP . image size 9x13 . unframed . $900
archival pigment print on canvas . $4000
archival pigment print . 22x23in . number 4 of 10 signed and numbered . location is Saintes Maries de la Mer, France, May 2015 . presentation is classic soft black wood frame, archival materials, white cotton mat . $3200 . SOLD
archival pigment print . 15.5x24in . number 3 of 20 signed and numbered from the Hooves & Dust series . location Tumalo, Oregon, , USA . presentation is soft black wood frame, archival materials, white cotton mat . $3000
archival pigment print . 20x22in . number 5 of 25 signed and numbered of The Hooves & Dust series . location is Tumalo, Oregon, September 2005 . presentation is classic soft black wood frame, archival materials, white cotton mat . $3000
archival pigment print . 15x30in . number 7 of 10 signed and numbered of the Hooves & Dust series . location is Rowe, New Mexico, October 2007 . presentation is classic soft black wood frame, archival materials, white cotton mat . $3500
SPECIAL NOTE: This image was taken on actor Val Kilmer's Pecos River Ranch. These horses belonged to Mr. Kilmer who invited the artist out to photograph them.
The Horses are crossing the Pecos River which flows through the ranch. Mr. Kilmer sold the ranch a few years later, but he does own one of these prints.
limited edition (2/10) archival pigment print . image size 14.5x22in . framed . $2700
archival pigment print (3/25) . image size 19x13in unframed . $2000
archival pigment print (Artist Proof) . image size 22.5x15in unframed . $2800
limited edition (4/25) archival pigment print . image size 10x10in . framed . $2900
limited edition (1/1) archival pigment print . 22x14.5in . framed . $3500
archival pigment print (AP) image size 14x20.5in . unframed . $3000
Growing up along the shores of Lake Michigan and wandering the woods and fields of his native Wisconsin gave Bill Gallen an early appreciation for the wonders of the natural world. Gallen graduated from the University of Wisconsin-Madison in history and German and spent a year studying in Freiburg, Germany. Plans to pursue an academic teaching career gave way when he moved to Colorado and began a painting contracting business with his brother. Nurturing a lifelong interest in art, Gallen studied painting and drawing in his free time with local instructors as well as at workshops in Taos, New Mexico, and the Scottsdale Artists School. He counts Michael Lynch, David Ballew and Ned Jacob among his most influential teachers.
Bill Gallen currently resides in New Mexico where he enjoys painting landscapes, particularly location pieces. The eye for beauty and harmony in nature which he developed as a child in the Midwest informs his work with freshness and sensitivity. Gallen’s paintings are included in private, corporate and museum collections nationwide.
The Bettina Steinke Studio in Santa Fe is the historic setting where a continuation of a lineage of painters is made possible, starting with renowned portrait and landscape painter, Bettina Steinke, (1913-1999) descending through her student, the great draftsman and painter Ned Jacob and carried to us today by the painters, Michael J. Lynch and David Ballew.
Paul Van Munching, an accomplished draftsman and painter in his own right, is the benefactor who makes this possible.
oil on linen . 10x15in . $2500
oil on linen . 9x12in $1650
oil on linen . 24x30in . $9000
oil on linen . 6x10in . $1200
oil on linen . 8x10in . $1500
oil on linen . 7x10in . $1600
oil on linen . 16x20in . $4500
oil on linen . 8x10in . $1500
oil on linen . 6x8in . $1100
oil on linen . 6x8in . $1100
oil on linen . 6x8in . $850 unframed
oil on linen . 9x12in . $1500 unframed
oil on linen . 8x16in . $1500 unframed
oil on linen . 6x8in . $850 unframed
oil on linen . 8x10in . $1350 unframed
oil on linen . 16x20in . $4500 . SOLD
oil on linen . 9x12in . $1500 unframed
Nina is a dedicated fine artist with a long chronology of solo, group, and self-designed exhibitions. Creativity in the studio brings a balance and wealth of ideas to her unique professional life. Nina has worked as a self-employed artist and stylist for over 25 years. Born 1979, in Milwaukee, she jumps into a wide range of freelance creative projects throughout Southeastern Wisconsin and beyond. She lived and worked in New York City in the early 2000s, specializing in window display concept, design and installation. In Wisconsin, Nina primarily works in photo and video studios with an emphasis on a set design and styling. Her favorite clients over the years include: Trek Bikes, Amazon, Bergdorf Goodman, Diesel Jeans, Sony and Armani.
Beyond the boardroom, Nina is an accredited artist with a dedicated studio practice creating work with a focus on bold organic line and a highly developed color palette. She has a BFA in Environmental Science and Geography from the University of Wisconsin at Madison and is a lifelong lover of nature. Nina is an environmentalist with growing interest in native plants, sustainable food gardening and regenerative growing practices. She believes the future of human happiness will require working directly with the earth to navigate and offset climate change.
“As a working artist, I’d like to design, make and hold spaces that will challenge the consumptive corporate models of planned obsolescence and profiteering. I want to push intelligent art and design into new and uncharted models that are built with sustainable integrity and prioritize humanity’s wellbeing.”
–Nina Bednarski, 2024
enamel reverse painting on glass
enamel reverse painting on glass . custom frame . 6x6in . $350 SOLD
16x14in framed . enamel reverse painting on glass . $1400
enamel reverse painting on glass . custom frame . 8x6in . $380
enamel reverse painting on glass . custom frame . 8x6in . $380
enamel reverse painting on glass . vintage frame . 12x9in . $450
enamel reverse painting on glass . custom frame . 10x8in . $480
enamel reverse painting on glass . vintage frame (1930s) . 15x13in . $750
enamel reverse painting on glass . custom frame . 10x8in . $550
enamel reverse painting on glass . custom frame . 8x6in . $450
enamel reverse painting on glass . custom frame . 8x6in . $380 . SOLD
enamel reverse painting on glass . vintage frame . 12x10in . $580
reclaimed window . enamel reverse painting on glass . 18x53in . $4800
15x17in framed . enamel reverse painting on glass . $2200
13x17in framed . enamel reverse painting on glass . $1800
mixed media . 2023 . $750
mixed media . 2023 . $550
My earliest and most important influences were a book written by Hiram Williams: “Notes for a Young Painter” https://www.amazon.com/Notes-Young-Painter-Hiram-Williams/dp/0136241158, conversations with him as well as with Geoff Naylor, Ken Kerslake, and Jerry Uelsmann, all of whom taught at the University of Florida in the Fine Arts Department. Additionally, ideas from Frank Stella, Pablo Picasso, Marcel Duchamp, Ernst Ludwig Kirchner and other German Expressionists, Der Blue Reiter Group, Kasimir Malevich, and Amedee Ozenfant and Charles Edouard Jeannette (Le Corbusier), and the surrealists.
As with anything else that goes into the creation of art, scale is certainly an important component. My paintings are large because the imagery would not work for me at a smaller scale. If I could work larger, I probably would.
~ Richard Woodruff
acrylic on canvas . 84x66in . $21,000 (on view at Sterling)
acrylic on canvas . 84x66in . 2018 . $17,500
acrylic on canvas . 84x66in . 2019 . $17,500
acrylic on canvas . 84x66in . 2019 . SOLD
in its new home Bangkok, Thailand
acrylic on canvas . 84x66in . 2019 . SOLD
acrylic on canvas . 84x66in . $17,500
acrylic on canvas . 84x66in . 2020 . $17,500
acrylic on canvas . 84x66in . 2020 . $17,500
acrylic on canvas . 84x66in . 2019 . $17,500
acrylic on canvas 84x66in . 2019 . $17,500
acrylic on canvas . 84x66in . 2019 . $17,500
acrylic on canvas . 66x96in . SOLD
acrylic on canvas . 84x66in . $17,500
acrylic on canvas . 84x66in . 2018 . $17,500
acrylic on canvas . 84x66in . $17,500
acrylic on canvas . 84x66in . 2022 . $17,500
oil on canvas . 84x66in . 2022 . $17,500
acrylic on canvas . 84x66in . 2022 . $17,500
in a new home . SOLD
acrylic on Gold on canvas . 66x84in . 2022 . $17,500
acrylic on canvas . 66x84in . 2022 . $17,500
acrylic on canvas . 66x84in . 2022 . $17,500
acrylic on canvas . 84x66in . 2021 . $17,500
acrylic on canvas . 84x66in . 2021 . $17,500
Born in Casper, Wyoming, Cecilia Robertson lived her early life in the American West: Wyoming, Colorado and Texas. She spent her school years in Louisiana and graduated from Rhodes College in Tennessee. Graduate studies and family ties brought her back to Texas where Cecilia enjoyed a twenty year career as a clinical psychologist in Fort Worth and Dallas.
During her first career she also prepared for her next- a career as artist- In 1992 she began fifteen years of focused study with painting teachers and mentors. Important teachers include Bob Rohm, Judy Pelt, Dennis Blagg, and Jill Carver of Texas, Skip Whitcomb of Colorado and Bill Gallen of New Mexico. Her career in art has returned her to the West where she lives and works in Santa Fe, New Mexico.
Favorite painting experience: Seven nights of camping and seven days of painting on the floor of Canyon de Chelly, Arizona. A Navajo family provided meals and the horses we road daily to our painting locations. Campfires, stories and sleeping amidst wandering horses at night made for a memorable experience in painting magnificent landscape! Thank you to the Taos Art School for a fabulous journey!
oil on linen . 12x16in . $1650
oil on linen . 8x10in . $850
oil on linen . 9x12in . $975
oil on linen . 8x10in $850
oil on linen . 12x12in . $1250
oil on linen . 8x10in . $850
oil on linen . 12x16in . $1650
Shari Chandler captures a peaceful stillness with her work; from her vast landscapes to the quieter botanical studies. She paints scenes that seem to go beyond a basic representation, and take the viewer into a quiet moment with nature.
Shari was born and raised in Oklahoma and was introduced to art by her grandparents, who were both landscape artists. She and her brother would go to their house to paint, swim and play cards, so she was immersed in art an early age, and was fortunate to have art classes throughout her school years. Filling out a paper in fourth grade for the school’s time capsule, she said she wanted to be an “artist, an architect, or an archaeologist,” so when she went to college, art was a natural direction. After two years at the University of Kansas on the graphic design track, she switched focus to another one of those childhood career dreams, archaeology.
Shari obtained her BA in anthropology from the University of Oklahoma, and a Master’s Degree in anthropology from New Mexico State University. After illustrating her own Master’s thesis, and taking a human osteology class that had the students draw every bone in the human body, Shari’s love of art was rekindled and she started painting again. She returned to her artwork after a ten year hiatus. Throughout those years, she still had art on her mind, taking photo references for future paintings, and still doing sketches for the archeological projects she worked on. That was in 2000, and since then, she has been represented by galleries in Santa Fe, Scottsdale, and her prior hometown of Silver City, New Mexico. She has had paintings accepted in numerous shows, but the highlight was having a piece accepted into the 2002 Arts for the Parks Competition top 100. This painting was also one of five featured in Southwest Art’s article about the show.
While living in New Mexico, Shari was active in the volunteer community of Silver City, as a fire-fighter, EMT, and her favorite volunteer activity, Search and Rescue. Being outside, and her love of nature, have been the driving forces in her life. They are the reasons she cites for wanting to be an archaeologist. Search and Rescue gave her the opportunity to hike and see all sorts of stunning backcountry she otherwise wouldn’t have experienced. It’s that love of the outdoors that she is able to bring to her paintings.
In 2017, Shari moved to Montana to live with her fiancé. He was a huge supporter of her art, and got to see her in two shows in Bozeman: “A Moment in Time” at Old Main Gallery, and the 2018 Sweet Pea juried show, where her painting “Grosbeak Nursery” took second place. After buying a house in Bozeman together and moving in at the beginning of August of 2018, her fiancé passed away at the end of September while they were on vacation in New Mexico. Shari considers Montana home now, and is inspired daily by the changing vistas and beauty that surrounds her.
Statement
Producing an artist’s statement has always been difficult for me. I grew up learning the basics of art. Most of us experience rudimentary art in our childhood, as our first foray into the world. We can’t communicate any other way when we are little. We color, we paint with our hands; it’s our language. Many go on to do other things, find other ways to communicate with the world and otherwise ‘grow up.’ I guess I never really did. I don’t doubt that many still have that child in them who remembers loving art, and it’s probably still there! Many of us take photos on a regular basis to post on social media. Can you create a statement about what those photos mean? Probably not. You took them because something about what you were seeing was special and you wanted to share it. That’s how I am with my paintings. My whole world is a series of paintings. Daily, I view scenes in the world as painting…trees, clouds, snow, light, color. I see beauty and I’m already imagining it as a painting. I can’t view the world any other way, and painting is my way of saying, “this scene, this is how I see it, this is the world I live in.”
~Shari Chandler
oil on canvas . 8x10in . $550
oil on canvas . 24x30in . $3000
oil on canvas . 24x30in . $2800
oil on canvas . 24x34in . $2200
oil on canvas . 24x30in . $2000
Just entering Grand Teton National Park when out guide spotted this pronghorn. That morning sun made for a stunning sky!
oil on canvas . 40x30in . $2000
Photo reference taken on the way home from a search and rescue mission in Mogollon, New Mexico.
oil on canvas . 16x20in . $850
oil on canvas . 7x9in . $550
oil on linen . 18x26in . $2300
oil on canvas . 20x16in . $850 unframed, edges painted
This sweet cow is “Ophelia la Vaca,” a rescue cow with her very own Instagram page (because she’s that cute!!).
oil on canvas . 20x16in . $850
Gay Marks has called Silver City home for almost 40 years. Growing up on Army bases across the U.S. and abroad, she moved almost every year before finally settling in the mountains of the Gila to work as a Speech-Language Pathologist. Gay feels fortunate to not only call Silver City home but to have the opportunity at this point in her life to explore her early interest in painting. Gay paints in oils and is interested in a wide variety of subjects - faces and places and all things in between. As Winston Churchill once wrote, "We may content ourselves with a joy ride in a paint box." A joy ride indeed!
oil on canvas . 30x48in . $3800
oil on canvas . 30x40in . $4800
oil on canvas . 16x20in . SOLD
oil on canvas . $600
oil on canvas . 24x36in . SOLD
oil on canvas . 30x48in . $2100
oil on canvas . 18x24in . $900
oil on canvas . 16x20 . NFS
oil on canvas . 9x12in . $450
oil on canvas . 14x11in . NFS
oil on canvas . 18x24in . $775
oil on canvas . 14x18in . $525
oil on canvas . 18x24in . $775
oil on canvas . 18x24in . $875
oil on canvas . 16x20in . $675
oil on canvas . 16x20in . $675
oil on linen board . 10x12 . SOLD
oil on linen board . 8x10in . SOLD
oil on canvas . 16x20
oil on linen board . 8x10 . $300
oil on linen board . 9x12 . $300
oil on linen-panel . $275
oil on linen board . 6x6 . NFS
oil on linen board . COMMISSION
oil on linen board . 12x9 . COMMISSION
NFS
NFS
NFS
COMMISSION
oil on linen board . 10x8in . SOLD
NFS
oil on linen board . 8x10 . SOLD
NFS
oil on linen board . 9x12in . SOLD
NFS
oil on linen board . 8x10 . SOLD
oil on linen board . 9x12 . SOLD
oil on linen board . 8x10 . SOLD
Timothy Hasenstein (born November 19, 1940) is an American painter, sculptor and educator who was influenced by the New York School of Abstract Expressionists. Hasenstein was a protégé of Milton Resnick, who was artist-in-residence at the University of Wisconsin-Madison while he was doing graduate work.
Born and raised in Sheboygan, Wisconsin, Hasenstein grew to favor nature’s icons; bones and branches and other found objects which play a predominant role in his art. Hasenstein gives sculptural form to the materials he uses from nature. His sculptures are very organic, made from materials found on walks, hikes and adventures.
While at the University of Wisconsin-Madison, Hasenstein developed a unique painting style he calls Abstract Impressionism, reflecting Monet’s late French Impressionistic influence as well as his mentor Resnick’s Post Abstract Expressionism.
Rudolf Arnheim author of Art and Visual Perception: A Psychology of the Creative Eye was also a friend and mentor of Hasenstein.
Hasensteins work can be found in private and corporate collections, mainly in the midwest. In 2007 Hasenstein was featured in the SPNN cable special Lowertown TV. Hasenstein is currently represented by adjoining galleries Seedboat Gallery (2-D) and Sterling Fine Art (3-D) in Silver City, New Mexico. After residing in the Lowertown Lofts, a community of artists in St. Paul, Minnesota for several years, he relocated to Silver City in the autumn of 2008, then in 2022 has settled in Tucson, Arizona.
Spirit Vessels Statement
The sculptures are very organic, made from materials that I have found on my walks, hikes and adventures. To an extent the bones and wood in the spirit vessels are paying tribute to how beautiful they actually appear in nature and pay respect and homage to the beauty that they once were. The ladders symbolize climbing to a higher spirit or gaining access to places of safety and security. Though I have a sophisticated arts background, I prefer to approach my work as if I were a primitive.
I give form to the materials I use from nature. Putting these objects together is to me the ultimate creative process. When I come upon things in nature that I respond to, they strike me as more beautiful than anything I have even seen in a museum. It is obvious that these “works of art” are loaded with spirit and were created out of a ned - a primal obsession. Icons of nature and the civilizations that have come and gone provide me with my inspiration.
~Timothy Hasenstein
mixed media . $800
mixed media . $800
mixed media . $800
celluclay . $800
celluclay . $800
celluclay . $500
mixed media . $500
mixed media . $500
mixed media . $500
celluclay . $500
mixed media . $950
mixed media . $950
mixed media . $1000
mixed media . $750
mixed media . $950
mixed media . $750
mixed media . $750
mixed media . $750
mixed media . $750
mixed media . $950
mixed media . $30
mixed media . $30
Miriam Hill is an artist, athlete, accomplished cyclist, outdoor enthusiast, graphic designer, and guardian angel to dogs in need of rescue. A long-time resident of Santa Fe, NM, Miriam grew up in the Midwest (Iowa, Wisconsin, Minnesota) and has traveled and studied abroad. Her passion for art is fueled by a keen and eclectic interest in the connectivity of nature and culture. Miriam has a keen eye for symmetry and scale and that is manifested in her landscapes and still life work. Yet, her sense of humor and bent for mischief also comes through in her whimsical work.
With respect to what enables her to paint, Miriam shares her philosophy. “My personal mission is to find balance. Blending what I love to do, the people I want to be with, the places I want to see, and the things I want to experience is a continual challenge. But I find that the better I blend all that the better I am able to express myself in my paintings. Just like life, art is a journey of learning—from others and from your own mistakes and successes.”
Miriam opened Sterling Fine Art in August of 2018.
oil on linen board . 9x12 . $1600
oil on canvas . 30x40in . $4300
oil on canvas . 18x24in . $1800
oil on canvas . 18x24in . $1800
oil on canvas . 30x36in . SOLD
oil on linen . 11x14in . SOLD
oil on canvas . 18x24in . $1400
oil on canvas . 20x20in . $1400
oil on linen . 11x14in . SOLD
oil on canvas . 10x8in . $325
oil on canvas . 12x12in . $850
oil on linen board . 9x12in . $400
oil on canvas . 20x24in . $1800
oil on linen board . 14x11in . $450
oil on linen board . 12x9in . $585
oil on canvas . 12x12in . $325
oil on canvas . 25x30in . $4300
oil on linen board . 9x12in . $800
oil on linen board . 5x9in . $150
plein air . oil on linen board . 9x12in . $450
oil on linen board . 6x12in . $180
oil on linen board . 6x12in . $180
oil on linen board . 9x12in . $400
oil on linen board . 6x6in . SOLD
oil on linen board . 6x6in . SOLD
oil on linen board . 12x9in . $400
oil on linen board . 6x12in . $180
oil on linen . 9x12in . $800
oil on linen board . 6x12in . $180
oil on linen board . 8x6in . NFS
oil on linen board . 12x9in . $400
oil on canvas . 12x12in . NFS
oil on canvas . 12x12in . $500
oil on linen board . 6x6in . SOLD
oil on linen board . 8x10in . $400
oil on linen board . 6x8in . $150
oil on linen board . 6x8in . SOLD
oil on linen board . 6x12in . $180
oil on linen board . 9x12in . $500
oil on linen board . 11x14in . $300
oil on linen board . 8x10in . $525
oil on linen board . 8x10in . $395
oil on linen board . 6x8in . $125
etching . 24x18in . $1050 framed ($750 unframed)
oil on linen board . 11x14 . SOLD
oil on linen board . 8x10in . $450
oil on linen . 18x24in . SOLD
oil on board . 6x6in . $90 . SOLD
oil on gessobord . 6x6in . SOLD
oil on gessobord . 8x8in . SOLD
oil on canvas . 12x12in . SOLD
oil on gessobord . 10x10in . SOLD
oil on linen board . 9x12in . $600
oil on mounted linen . 8x6in . SOLD
oil on canvas . 16x20in . SOLD
oil on gessobord . 8x8 . SOLD
oil on canvas . 16x20 . SOLD
oil on linen board . 8x10in . SOLD
oil on linen board . 8x6 . $SOLD
oil on linen board . 9x12in . NFS
oil on linen board . 9x12in . NFS
oil on mounted linen . 6x8in . SOLD
plein air . oil on linen board . 10x8in . SOLD
oil on linen board . 9x12in . NFS
oil on board . 6x6in . SOLD
oil on linen board . 9x12in . SOLD
Quisque iaculis facilisis lacinia. Mauris euismod pellentesque tellus sit amet mollis.