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Sterling Fine Art

307 North Texas Street
Silver City, NM, 88061
505 699 5005
art of the southwest new mexico

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Sterling Fine Art

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Ann E. Hudson (Wiley)

One of the things I like the best about pleinair painting is all of the unexpected things that happen while I'm standing out there. Once I had a huge bull moose in rut sneak up on me to about 10 feet away near a loud river. I quick grabbed my painting and ran away! Another time a grizzy bear wandered right through my scene. I've been drenched with rain in the San Juan mountains, have had my paints freeze in sub-zero temperatures in Montana, and wind almost blow me off a cliff at the ocean. I like to engage with spectators when I'm painting and often encourage little kids to add some brush strokes to my canvas. Their parents go nuts taking pictures! 

On a recent trip to Durango I had a bunch of Harley motorcyclists join me at the site where I painted "Still Waters on the Animas".  They were having a memorial for two fellow bikers who had passed away in motorcycle accidents. They welcomed Jasper and I into their group, fed us burgers and beers, and seemed to enjoy watching the progression of the painting. Plus their amazing tattoo art was pretty inspiring!

When I paint on site I am not trying to copy what I see, rather to create an image of what it feels like. Perhaps the atmosphere, the weather, a memory or even my own mood.  Oak Creek really doesn't look anything like my painting "Oak Creek"  but I think I was feeling really happy that day so the painting is bright and splashy. "Still got Power" was painted on a cloudy and somber afternoon in a little neighborhood in Manzano, New Mexico. I think I captured that mood.  I painted "Pinnacle in Pastels" from a cul-de-sac in The Village of Oak Creek near Sedona. It was so grand in the morning sun and I loved how extra grand it looked from my low vantage point. I emphasized that by cropping the top of the painting and using cool pastel colors for my palette.

As far as my official curriculum vitae goes, there's nothing really very special. Mostly, I just like to paint!

Holdin' Down the Roof
Holdin' Down the Roof

oil on panel . 9x12in . $860

Grain Bins
Grain Bins

oil on panel . 9x12in . $860

John Deere Tractor
John Deere Tractor

oil on panel . 9x12in . $860

Abiquiui Hogan
Abiquiui Hogan

oil on panel . 8x10in . $640

Log Loader
Log Loader

oil on panel . 8x10in . $640

Oak Creek
Oak Creek

oil on panel . 11x14in . $1200 . SOLD

Blue Dome
Blue Dome

oil on panel . 12x9in . $860

Elk Horn Cabins
Elk Horn Cabins

oil on panel . 5x7in . $280

Elk Creek No. 1
Elk Creek No. 1

oil on panel . 5x7in . $280

Elk Creek No. 2
Elk Creek No. 2

oil on panel . 5x7in . $280

Hazy Afternoon on the Lake
Hazy Afternoon on the Lake

oil on panel . 8x10 . $640

Fenceline Cottonwoods
Fenceline Cottonwoods

oil on panel . 5x7in . $280

Old Adobe Church
Old Adobe Church

oil on panel . 9x12in . $860

Our Lady of Sorrows
Our Lady of Sorrows

oil on panel . 8x10in . $640

Perfect for Pelicans
Perfect for Pelicans

oil on panel . 9x12in . $860

Pinnacle in Pastels
Pinnacle in Pastels

oil on panel . 11x14in . $1200

Prelude to Rapids
Prelude to Rapids

oil on panel . 8x10in . $640

Red Barn
Red Barn

oil on panel . 9x12in . $860

Red Barn Doors
Red Barn Doors

oil on panel . 9x12in . $860

Room in the Barn
Room in the Barn

oil on panel . 9x12in . $860

Sedona Icons
Sedona Icons

oil on panel . 9x12in . $860

Still Got Power
Still Got Power

oil on panel . 9x12in . $860

Stillwater on the Animas
Stillwater on the Animas

oil on panel . 8x10in . $640

Tributary to Elk Creek
Tributary to Elk Creek

oil on panel . 8x10in . $640

Up the Coastline
Up the Coastline

oil on panel . 9x12in . $860

Dry Wash
Dry Wash

oil on panel . 9x12in . $860

Work Day at the Old Church
Work Day at the Old Church

oil on panel . 9x12in . $860

Divergence
Divergence

oil on canvas . 8x10in . $640

Plein air painting
Plein air painting

Rick O'Ryan

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

No. 1285
No. 1285

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.

No. 1285 (second image)
No. 1285 (second image)
No. 681
No. 681

There was very little moisture left in this oak tree when it finally succumbed to the wind and gave up its tenuous grip in the sandy soil of a wash. Out on a firewood expedition with a dead and down permit, my friend Jim Pepperl found this treasure of a tree. He was excited at the large growth near the base of the tree. “It was big,” he said. I pressed for a joint expedition out to see it. I did not hear back until one day I found out Jim had already retrieved the tree. He related his disappointment that the burl at the base of the tree would be of no use – it was hollow and rotten. He had already cut up the rest of the tree for firewood, but had saved this piece for joint contemplation of the extent of its rot. I asked if I

No. 681 (second image)
No. 681 (second image)

Here Rosie is telling me that if I don’t do something with it, she wants it.. After lots of measuring and some chain saw guess work and a boat load of resins to firm up the rot, it made it to the lathe. Then more resins as I uncovered more rot. My goal was to have none of the resin be visible. Somehow, it stayed together. The bottom is inverted to stay securely on the dome on top of Jim’s forged steel base.

No. 681 (third image)
No. 681 (third image)

Charlie adopted the Ten bowl as his place to chill. I thought, this might not end well. One day, he vigorously jumped out of it and sent the bowl to the floor. I took full responsibility for I had already had the vision of this happening. I kept it bunjeed in place with the blanket in it for Charlie until it was time to to apply more resin… after what was already in it, what’s a little more? It had became Charlie’s Ten bowl. However, once I had addressed the issue he had caused, he was no longer allowed in it.

Finished with wipe on polyurethane, then with a tung and urethane oil blend. 24.5” in diameter, 13.25” high, and it weights 45 lbs. On Jim’s stand, the top of the bowl is 46” off the floor. $6500.

No. 1253
No. 1253

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

No. 1286
No. 1286

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.

No. 739
No. 739

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.

No. 711
No. 711

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.

No. 722
No. 722

A study in tannin... the Lazy P in the middle was turned green, right off the tree, no treatment other than drying.  The piece on the left was cut from the branch, then submerged in water for several years, with scrap steel in the water. The darker color is from the iron - tannin reaction. The piece on the left, and the one in the middle, are gone.  The piece on the right, 722, 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. No. $590

No. 570
No. 570

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

No. 814
No. 814

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

No. 1247
No. 1247

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

No. 1250
No. 1250

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

No. 1256
No. 1256

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

No. 1258
No. 1258

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.

No. 1259
No. 1259

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

No. 1259 (second image)
No. 1259 (second image)
No.1268
No.1268

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.

No. 1278
No. 1278

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.

No. 1281
No. 1281

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.

No. 1282
No. 1282

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.

No. 1291
No. 1291

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. $750

No. 1292
No. 1292

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

No. 1292 (second image)
No. 1292 (second image)
No. 1293
No. 1293

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.

No. 1294
No. 1294

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.

No. 1097
No. 1097

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. $1490

Plus optional shade at $112.50.

http://www.firehydrant.org/pictures/crane.html

No. 1107
No. 1107

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

Plus $112.50 for the optional shade.

No. 1110
No. 1110

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.

No. 1152
No. 1152

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.

An optional shade may be selected from one of the other lamps, or may be acquired from the shade source of your choosing.

http://www.firehydrant.org/pictures/vandeventer.html

No. 1170
No. 1170

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.  $1490 without shade.

An optional shade can be selected from one of the other lamps, or from a shade source of your choosing.

http://www.firehydrant.org/pictures/clow-canada-daigle-concord.html

No. 1174
No. 1174

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

The optional shade is from LampsUSA, $157.50.

http://www.firehydrant.org/pictures/mc03.html

No. 1176
No. 1176

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. $1490.

The “Copper Empire Mystic Topaz” shade is from JustShadesNY, $275.

http://www.firehydrant.org/pictures/glamorgan-pipe+foundry.html

No. 1180
No. 1180

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.

http://www.firehydrant.org/pictures/lv02.html

No. 1180 (second image)
No. 1180 (second image)
No. 1186
No. 1186

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 6-1/4in diameter, and the lamp stands 18in to the base of the harp. $1490

Shade is optional.

http://www.firehydrant.org/pictures/tciw01.html

No. 1189
No. 1189

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

Optional shade $112.50.

http://www.firehydrant.org/pictures/rdwm03.html

No. 1190
No. 1190

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. $1490

Optional shade $112.50.

http://www.firehydrant.org/pictures/kennedy03.html

No. 1238
No. 1238

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. $1600

Optional shade, $112.50.

https://www.coniferousforest.com/coulter-pine.htm

Steve Collins

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.

Botanical 180
Botanical 180

Archival pigment print . 22x30 . $1900 ($1500 unframed)

No. 6655  Monument Valley, AZ
No. 6655 Monument Valley, AZ

archival pigment print . 4x22in . $720 framed ($520 unframed)

No. 6423 Wall Unfinished, AZ/Mexico border near NM
No. 6423 Wall Unfinished, AZ/Mexico border near NM

archival pigment print coated. 13x42in . (1/5) . $4300

No. 0041  Monument Valley, AZ
No. 0041 Monument Valley, AZ

archival pigment print . coated . 22x72in . (1/5) . $6600

3965 gate stanley nik 71x.jpg
No. 6507  Near Douglas, AZ
No. 6507 Near Douglas, AZ

archival pigment print . 7x22in . $720 framed ($520 unframed)

No. 6740  Shiprock, NM
No. 6740 Shiprock, NM

archival pigment print . 7x22in . $720 framed ($520 unframed)

No.6523  Near Douglas, AZ
No.6523 Near Douglas, AZ

archival pigment print . 7x22in . $720 framed ($520 unframed)

No. 5417
No. 5417

San Luis Valley, Colorado . archival pigment print . 7x22in image size . $720 framed ($520 unframed)

No. 5058
No. 5058

East of Columbus, New Mexico . archival pigment print . 7x24in image size . $720 framed ($520 unframed)

No. 5215
No. 5215

Near Dell Lake, Texas . archival pigment print . 7x24in image size .$720 framed ($520 unframed)

No. 1172
No. 1172

Organ Pipe National Monument, Arizona . archival pigment print . 7x22in image size . $720 framed ($520 unframed)

No. 1213
No. 1213

Sahaurita, Arizona . archival pigment print . 7x22in image size . $720 framed ($520 unframed)

No. 1592
No. 1592

San Bernardino Wildlife Refuge, near Douglas, Arizona . archival pigment print . 7x22in image size . $720 framed ($520 unframed)med)

54.25
54.25

signed archival pigment print . 6x6in . unframed . $85 . $150 framed

34.18
34.18

signed archival pigment print . 6x6in . unframed . $85 . $150 framed

58.33
58.33

signed archival pigment print . 6x6in . unframed . $85

50.55
50.55

signed archival pigment print . 6x6in . unframed . $85

58.05
58.05

signed archival pigment print . 6x6in . unframed . $85

35.34
35.34

signed archival pigment print . 6x6in . unframed . $85

55.26
55.26

signed archival pigment print . 6x6in . unframed . $85

Chino Mine I, Santa Rita, New Mexico
Chino Mine I, Santa Rita, New Mexico

archival pigment print . 41x13 . $850 or 90x42in . $1300

Morenci Mine, Morenci, Arizona
Morenci Mine, Morenci, Arizona

archival pigment print . 41x13 . $850 or 90x42in . $1300

Bingham Mine, Salt Lake City, Utah
Bingham Mine, Salt Lake City, Utah

archival pigment print . 41x13 . $850 or 90x42in . $1300

Chino Mine II, Santa Rita, New Mexico
Chino Mine II, Santa Rita, New Mexico

archival pigment print . 41x13 . $850 or 90x42in . $1300

Cripple Creek Mine, Cripple Creek, Colorado
Cripple Creek Mine, Cripple Creek, Colorado

archival pigment print . 41x13 . $850 or 90x42in . $1300

Botanical 238
Botanical 238

Archival pigment print . 22x30 . $1900 ($1500 unframed)

42x32in . mounted with protective coating . $3200 framed

Botanical I28
Botanical I28

Archival pigment print . 30x22 . framed $1900 ($1500 unframed)
archival pigment print . 58x42 . framed $6400

Botanical 234
Botanical 234

Archival pigment print . 22x30 . $1900 ($1500 unframed)

Botanical 149
Botanical 149

Archival pigment print . 22x30 . $1900 ($1500 unframed)

Botanical 113
Botanical 113

Archival pigment print . 22x30 . $1500 unframed

Botanical 204
Botanical 204

Archival pigment print . 22x30 . $1900 ($1500 unframed)

Botanical 119
Botanical 119

Archival pigment print . 22x30 . $1500 unframed

Botanical 131
Botanical 131

Archival pigment print . 22x30 . $1900 ($1500 unframed)

Botanical 145
Botanical 145

Archival pigment print . 22x30 . $1900 ($1500 unframed)

Botanical 134
Botanical 134

Archival pigment print . 22x30 . $1900 ($1500 unframed)

Botanical 186
Botanical 186

Archival pigment print . 22x30 . $1900 ($1500 unframed)

Botanical 139
Botanical 139

Archival pigment print . 22x30 . $1900 ($1500 unframed)

Cecilia Robertson

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!

https://www.ceciliarobertson.com

Shining Stone
Shining Stone

oil on linen . 12x16in . $1650

Touch of Gold
Touch of Gold

oil on linen . 8x10in . $850

Turquoise Sky
Turquoise Sky

oil on linen . 9x12in . $975

A Closer Look
A Closer Look

oil on linen . 8x10in $850

Sky Dance
Sky Dance

oil on linen . 12x12in . $1250

Morada
Morada

oil on linen . 8x10in . $850

Alpine Tapestry
Alpine Tapestry

oil on linen . 12x16in . $1650

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Letha Cress Woolf

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

Raven and Berry Pot
Raven and Berry Pot

ceramic . $360 SOLD

Mimbres "Kissing Frogs"
Mimbres "Kissing Frogs"

double sided lid . ceramic . 10in tall . $600

(second image)
(second image)
Raven Vessel
Raven Vessel

ceramic . 7.5in tall . $225

Raven Feathers and Berries
Raven Feathers and Berries

ceramic . 8.5in tall . $250

(second image)
(second image)
Me and my Mimbres Cousin
Me and my Mimbres Cousin

ceramic . 7in tall . $200

(second image)
(second image)
Crane Vase
Crane Vase

ceramic . 8in tall . $180

All Fall Down He He
All Fall Down He He

ceramic . 11in tall . $400

(second image)
(second image)
Turtle Love
Turtle Love

kissing turtles . ceramic . 9in tall . $270

Blue
Blue

ceramic vessel and lid . 9in tall . $300

Windy
Windy

ceramic vessel and lid . 8in tall . $250

Truth
Truth

ceramic vessel . 15in tall . $500

Frog and Turtle
Frog and Turtle

two lids for the ceramic vessel . 9in tall . $180

Pitcher and Six Tumblers
Pitcher and Six Tumblers

ceramic seven piece set . $480

Bears Heading South "Can We Come?"
Bears Heading South "Can We Come?"

ceramic vessel with lid . $240

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Lidded Tanker
Lidded Tanker

soda fired . $90

Raven Pot
Raven Pot

ceramic . $360

additional image
additional image
Mini Bunny Jar
Mini Bunny Jar

ceramic . $45

Ravens in the Briar Patch
Ravens in the Briar Patch

lidded jar . fired to cone 10 (2300 degrees F) . 9x9in . $300 . SOLD

The One that Got  Away
The One that Got Away

fish in ocean textured . ceramic . SOLD

additional image
additional image
Bunny Butt
Bunny Butt

ceramic pot and lid . 7x7x7in . $350

 (second image)

(second image)

Hide and Seek Turtles
Hide and Seek Turtles

cracked casserole with four turtles . soda fired . 9x9in . SOLD

Raven Mask
Raven Mask

wheel thrown and hand built . raku fired . SOLD

Rising Sun Raven
Rising Sun Raven

wheel thrown and hand built . raku fired . $240

Roudy Raven
Roudy Raven

wheel thrown and hand built . raku fired . $280

Raven Mask
Raven Mask

wheel thrown and hand built . raku fired . 17x15in . $260 . SOLD

Rocky Raven
Rocky Raven

wheel thrown and hand built . raku fired . $280

Rapid Racer Raven
Rapid Racer Raven

wheel thrown and hand built . raku fired . SOLD

Rapid Racer Raven (second image)
Rapid Racer Raven (second image)

wheel thrown and hand built . raku fired . $240

Fire and Ice
Fire and Ice

raku vase . glazed interior . $275

Lil Beauty
Lil Beauty

glazed interior (may hold water) . $225

Copper Top
Copper Top

raku . $225

Raku
Raku

ceramic . $165

Raku Vessel
Raku Vessel

ceramic . $135

Spectrum
Spectrum

raku crack pot vase . 9.5x8in . SOLD

Naked Raku
Naked Raku

$120

Naked Raku II
Naked Raku II

$85

Naked Raku III
Naked Raku III

$85

Naked Raku IV
Naked Raku IV

$70

Into the Storm
Into the Storm

dragonfly and Mimbreño storm . soda fired . 12x7in . $450

Into the Storm
Into the Storm

(second image)

Raven and Fledgling Plate
Raven and Fledgling Plate

ceramic . $225

A Rabbit Named Jack
A Rabbit Named Jack

Mimbres design . gas fired cone 10 . 9in diameter . $200

Family Lookout
Family Lookout

Mimbres design quail family plate . fired cone 10 . 10in diameter . $200 . SOLD

Raven in the Berry Patch
Raven in the Berry Patch

plate . fired to cone 10 . 9.5in diameter . SOLD

Spirit Warriors
Spirit Warriors

hand drawn warriors with slip . gas fired cone 10 . 5.5x9in . $180

Tulips
Tulips

ceramic vase . $160

additional image
additional image
Feathers in the Wind
Feathers in the Wind

black and white vase . fired cone 10 . 8.5x7in . $200

Blowing in the Wind
Blowing in the Wind

dandelion . gas fired cone 10 . 18x8in . $175

Guardian
Guardian

(first of two images) black and white vase . fired cone 10 . $300

Guardian
Guardian

(second image)

Burnt Feathers
Burnt Feathers

raku fired vase . 9x5.5in . $180

Horse Hair and Feathers
Horse Hair and Feathers

raku . $310

Rojo Cobre "Feathers"
Rojo Cobre "Feathers"

raku . $240

Crack Pitcher
Crack Pitcher

soda fired ceramic . cone 10 . 9x8in . $175

Textured Vase
Textured Vase

ceramic . $300

Sandhill Cranes
Sandhill Cranes

textured ceramic . $240

Flight of the Sandhill Cranes
Flight of the Sandhill Cranes

tall vase . soda fired . 16x8in . SOLD

Sand Hill Crane
Sand Hill Crane

sandhill cranes . soda fired . Southwest Bird Show Award . 8.5x6in . $300 . SOLD

Sand Hill Cranes
Sand Hill Cranes

(second image)

Bamboo
Bamboo

lidded handled jar . salt fired $150

Solstice Bread Bowl
Solstice Bread Bowl

large bowl . gas reduction fired cone 10 . 5.5x13in . $225

Letha and her kilns.
Letha and her kilns.

Craig L. Wentz

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

Vista from Point Sublime, North Rim of the Grand Canyon
Vista from Point Sublime, North Rim of the Grand Canyon

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!

Meadow Creek Composition No. 3
Meadow Creek Composition No. 3

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.

Hermosa Creek
Hermosa Creek

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.

Willow Creek Composition No. 1
Willow Creek Composition No. 1

acrylic on canvas with masonite border . 44x33in . $4200

Below the Willow Creek Campground, nice hiking and fly fishing.

Sunset on the Sangre de Cristos
Sunset on the Sangre de Cristos

acrylic on canvas with masonite border . 33x42in . $4200
A vista from the north side of Taos looking northeast.

Ely Creek Falls - Spirit in the Rock
Ely Creek Falls - Spirit in the Rock

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.

A Small Creek on Longs Peak Trail, Rocky Mountain National Park
A Small Creek on Longs Peak Trail, Rocky Mountain National Park

edition of 10 archival giclée prints available . $200ea

Willow Creek, Gila National Forest #1
Willow Creek, Gila National Forest #1

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.

A Small Stream in the Hoh Rainforest - Olympic National Park
A Small Stream in the Hoh Rainforest - Olympic National Park

edition of 10 archival giclée prints available . $200ea

A Small Unnamed Creek Below Sol Due Falls, Sol Duc Rain Forest, Olympic National Park
A Small Unnamed Creek Below Sol Due Falls, Sol Duc Rain Forest, Olympic National Park

edition of 10 archival giclée prints available . $200ea

Sapillo Creek, Gila National Forest #1
Sapillo Creek, Gila National Forest #1

edition of 10 archival giclée prints available . $200ea

A Small Creek #2, Hot Rain Forest, Olympic National Park
A Small Creek #2, Hot Rain Forest, Olympic National Park

edition of 10 archival giclée prints available . $200ea

Tony Bonanno

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.

http://bonannophoto.com

Camargue No. 40 . Manon
Camargue No. 40 . Manon

limited edition (7/15) archival pigment print . image size 13.5x20in . $1550 unframed

Manon . Camargue Horses and Gardians
Manon . Camargue Horses and Gardians

limited edition archival pigment print . 19.5x14in . $1550 unframed . SOLD

Camargue Horses No. 59 . Camargue Horses and Gardians
Camargue Horses No. 59 . Camargue Horses and Gardians

limited edition archival pigment print . 14x19.5 . $1800 . SOLD

Camargue No. 13
Camargue No. 13

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

Camargue No. 23
Camargue No. 23

limited edition (7/15) archival pigment print . image size 14x20in . $1900

AP . image size 9x13 . unframed . $900

archival pigment print on canvas . $4000

Camargue No. 4
Camargue No. 4

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

Hooves & Dust No. 40
Hooves & Dust No. 40

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

Hooves & Dust No. 18
Hooves & Dust No. 18

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

Hooves & Dust No. 35
Hooves & Dust No. 35

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.

Synergy No. 14
Synergy No. 14

limited edition (2/10) archival pigment print . image size 14.5x22in . framed . $2700

Synergy No. 15
Synergy No. 15

archival pigment print (3/25) . image size 19x13in unframed . $2000
archival pigment print (Artist Proof) . image size 22.5x15in unframed . $2800

Synergy No. 6
Synergy No. 6

limited edition (4/25) archival pigment print . image size 10x10in . framed . $2900

Synergy No. 2
Synergy No. 2

limited edition (1/1) archival pigment print . 22x14.5in . framed . $3500

Synergy No. 1
Synergy No. 1

archival pigment print (AP) image size 14x20.5in . unframed . $3000

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Bill Gallen

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.

www.billgallen.com

Twilight Desert
Twilight Desert

oil on linen . 10x15in . $2500

November Afternoon in the Sangres
November Afternoon in the Sangres

oil on linen . 9x12in $1650

Uprising
Uprising

oil on linen . 24x30in . $9000

Dawn Light
Dawn Light

oil on linen . 6x10in . $1200

First Snow
First Snow

oil on linen . 8x10in . $1500

Coyote Morning
Coyote Morning

oil on linen . 7x10in . $1600

Shapes of Stone and Sky
Shapes of Stone and Sky

oil on linen . 16x20in . $4500

Afternoon Pattern
Afternoon Pattern

oil on linen . 8x10in . $1500

New Mexico Summer Sky
New Mexico Summer Sky

oil on linen . 6x8in . $1100

El Salto, Summer Patterns
El Salto, Summer Patterns

oil on linen . 6x8in . $1100

Greyhead
Greyhead

oil on linen . 6x8in . $850 unframed

Backlit
Backlit

oil on linen . 9x12in . $1500 unframed

Desert Emeralds
Desert Emeralds

oil on linen . 8x16in . $1500 unframed

Batiquitos Lagoon
Batiquitos Lagoon

oil on linen . 6x8in . $850 unframed

Morning Light, Piedra Lumbre
Morning Light, Piedra Lumbre

oil on linen . 8x10in . $1350 unframed

Desert Dreams
Desert Dreams

oil on linen . 16x20in . $4500 . SOLD

Spring in the Foothills
Spring in the Foothills

oil on linen . 9x12in . $1500 unframed

Nina Bednarski

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

Bird Heros
Bird Heros

enamel reverse painting on glass

Flicker
Flicker

enamel reverse painting on glass . custom frame . 6x6in . $350 SOLD

Roadside Cacti
Roadside Cacti

16x14in framed . enamel reverse painting on glass . $1400

Jackrabbit
Jackrabbit

enamel reverse painting on glass . custom frame . 8x6in . $380

Bluejay
Bluejay

enamel reverse painting on glass . custom frame . 8x6in . $380

Spotted Towhee
Spotted Towhee

enamel reverse painting on glass . vintage frame . 12x9in . $450

Cooper Hawk
Cooper Hawk

enamel reverse painting on glass . custom frame . 10x8in . $480

Goliath Heron
Goliath Heron

enamel reverse painting on glass . vintage frame (1930s) . 15x13in . $750

Mexican Spotted Owl
Mexican Spotted Owl

enamel reverse painting on glass . custom frame . 10x8in . $550

American Robin
American Robin

enamel reverse painting on glass . custom frame . 8x6in . $450

Rufus Collard Sparrow
Rufus Collard Sparrow

enamel reverse painting on glass . custom frame . 8x6in . $380 . SOLD

Eurasian Eagle Owl
Eurasian Eagle Owl

enamel reverse painting on glass . vintage frame . 12x10in . $580

Huntington Desert Garden
Huntington Desert Garden

reclaimed window . enamel reverse painting on glass . 18x53in . $4800

Gila Afternoon
Gila Afternoon

15x17in framed . enamel reverse painting on glass . $2200

City of Rocks
City of Rocks

13x17in framed . enamel reverse painting on glass . $1800

Low Tide
Low Tide

mixed media . 2023 . $750

Hidden
Hidden

mixed media . 2023 . $550

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Richard Harper

As long as I can remember, I have been intrigued by seed pods and the way things in nature explode into being, often quietly and unseen. The entire life cycle interests me: birth, life, death, and rebirth. This theme continues to inform and appear in my paintings.

When I was a college student, Otis O. Lumpkin, a master painter and educator, introduced me to oil painting. Naturally, I wanted to paint like Otis, so my early paintings were representational with a touch of the surreal and the artist’s personal memory and experiences. My very first painting was a still life, which included a white sphere located close to the center of the composition. After that, I began to paint imaginary settings and compositions -- people and objects in uncommon or unusual settings and surroundings -- painting what I imagined rather than what I actually observed with my eyes. During those early years, the painters I was drawn to included Otis Lumpkin, Andrew Wyeth, and Salvador Dali. I have since added George Inness, especially his work in later years, and Martin Johnson Heade, a Luminist of the nineteenth century. Of course, I love the works and lives of many other artists, however, I most often revisit the work of Wyeth, Inness, and Heade.

Today, although it matters to me that the finished painting is well executed and presented, I am even more interested in what happens during the creative process itself. Although my early education was studying the “old master” technique where the drawing is of extreme importance, I now often begin paintings with a very loose sketch, or no sketch at all. I paint intuitively, influenced by circumstances and events that move me. I try to “trust the process,” and ask that I be granted the openness and courage to paint what I am led to paint rather than what I “think” will be pleasing. I seek to paint what I have known before – perhaps in another life but have since forgotten –or what I have never known, but am now shown. It is my hope that my work touches the viewer in a visceral way; in some way or place that the viewer finds familiar, but may not readily understand or be able to articulate. I hope the viewer will be attracted by the strength of the composition and be held there long enough to see and explore the total environment of the work.

I have often been asked about the ubiquitous sphere that appears in most of my compositions. Traditionally, the sphere represents perfection or beauty. In my work, I often see it as a character in the scene, as in a novel or a play: a silent observer, off to the side, or the center of attention, around which everything else revolves. I do not know exactly what it means or stands for; however, I have considered it enough to formulate a theory. I believe that sometimes the sphere represents me; quite often my “higher self.” At other times, I see it as representing a higher set of principles, always available, that we (humanity as a whole) or I (as an individual) could have chosen in the past or, hopefully, might choose going forward. 

~Richard Harper

Springtime Anticipation
Springtime Anticipation

oil on linen . 20x16in . $2000

Cross Member
Cross Member

oil on linen . 20x16in . $2000

Window Over the Moon
Window Over the Moon

oil on canvas . 18x24in . $2400

After War
After War

12x12in . oil on panel . $700

An Event by Prophecy
An Event by Prophecy

oil on linen . 18x24in . SOLD

Night Fire
Night Fire

oil on panel . 12x12in . $700

Mystery and Distraction
Mystery and Distraction

oil on linen . 24x18in . SOLD

Dwellings
Dwellings

oil on panel . 12x12in . $700

Across the Field
Across the Field

12x12in . oil on panel . $700

Tree to Consider
Tree to Consider

24x18in . oil on linen . $2400

The Pearl
The Pearl

18x24in . oil on linen . $2400

Female Icon
Female Icon

24x18in . oil on linen . $2400

Resources and Bootstraps
Resources and Bootstraps

oil on linen . 18x24in . $2400

The Sacred
The Sacred

oil on panel . 16x20in . $1200

Time Travel
Time Travel

oil on canvas . 36x36in . $4000

Cave Spring as Seen from NM
Cave Spring as Seen from NM

oil on linen . 24x18in . $2400

Yardbird Tree
Yardbird Tree

oil on panel . 18x24in . $2400

Winter Findings
Winter Findings

oil on linen . 24x18in . $2400

Sunset's Finding
Sunset's Finding

oil on linen . 24x18in . $2400

Refugium
Refugium

oil on panel . 12x12in . $700

Living in the Field
Living in the Field

oil on linen . 18x24in . $2400

Outdoor Still Life
Outdoor Still Life

oil on panel . 12x12in . $700

Aerial Intimacy NM
Aerial Intimacy NM

oil on canvas . 30x24in . $3,000

Paikea
Paikea

oil on canvas . 48x24in . $4000

Evening Chamber Arrangement
Evening Chamber Arrangement

oil on canvas . 20x10in . $2000
(archival prints also available)

Second Vision
Second Vision

oil on canvas . 12x12in . $1200

Dwellings
Dwellings

oil on canvas . 10x20in . $1200

Looking South
Looking South

oil on canvas . 20x16 . $1200

The Guardian
The Guardian

oil on canvas . 24x36in . $5000

Blooming in a Cooler Season
Blooming in a Cooler Season

oil on panel . 12x12in . $700

On Any Border
On Any Border

oil on panel . 12x12in . SOLD

Space and Distance
Space and Distance

oil on panel . 12x12in . SOLD

Guardian Outpost
Guardian Outpost

oil on panel . 12x12in . SOLD

Celestial Energy
Celestial Energy

oil on panel . 12x12in . SOLD

Cry of Sacred Lands
Cry of Sacred Lands

oil on panel . 12x12in . SOLD

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Richard Woodruff

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

Under the Table
Under the Table

acrylic on canvas . 84x66in . $21,000 (on view at Sterling)

Under the Table (White)
Under the Table (White)

acrylic on canvas . 84x66in . 2018 . $17,500

Adoration of the Magi
Adoration of the Magi

acrylic on canvas . 84x66in . 2019 . $17,500

The Annunciation
The Annunciation

acrylic on canvas . 84x66in . 2019 . SOLD

Suite 2: Epiphany
Suite 2: Epiphany

in its new home Bangkok, Thailand

Suite 1
Suite 1

acrylic on canvas . 84x66in . 2019 . SOLD

 acrylic on canvas . 84x66in . $17,500

acrylic on canvas . 84x66in . $17,500

Je t'adore
Je t'adore

acrylic on canvas . 84x66in . 2020 . $17,500

Enchante
Enchante

acrylic on canvas . 84x66in . 2020 . $17,500

Reflections on a Loveseat Painted Into a Corner
Reflections on a Loveseat Painted Into a Corner

acrylic on canvas . 84x66in . 2019 . $17,500

Queen of Heaven
Queen of Heaven

acrylic on canvas 84x66in . 2019 . $17,500

The Bedroom
The Bedroom

acrylic on canvas . 84x66in . 2019 . $17,500

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The Psychiatrist's Couch
The Psychiatrist's Couch

acrylic on canvas . 66x96in . SOLD

Forest/Tree
Forest/Tree

acrylic on canvas . 84x66in . $17,500

Pieta 2
Pieta 2

acrylic on canvas . 84x66in . 2018 . $17,500

Pieta
Pieta

acrylic on canvas . 84x66in . $17,500

The Mirror's Tale #4, Version 2, Aquiescence
The Mirror's Tale #4, Version 2, Aquiescence

acrylic on canvas . 84x66in . 2022 . $17,500

The Mirror's Tale #3, Version 2, Propinquity
The Mirror's Tale #3, Version 2, Propinquity

oil on canvas . 84x66in . 2022 . $17,500

The Mirror's Tale #1, Version 1
The Mirror's Tale #1, Version 1

acrylic on canvas . 84x66in . 2022 . $17,500

Relax, What Could Go Wrong?
Relax, What Could Go Wrong?

in a new home . SOLD

The Umbrella Policy, Version II
The Umbrella Policy, Version II

acrylic on Gold on canvas . 66x84in . 2022 . $17,500

The Umbrella Policy (Version Two)
The Umbrella Policy (Version Two)

acrylic on canvas . 66x84in . 2022 . $17,500

The Umbrella Policy (Version One)
The Umbrella Policy (Version One)

acrylic on canvas . 66x84in . 2022 . $17,500

Danseurs Fantômes
Danseurs Fantômes

acrylic on canvas . 84x66in . 2021 . $17,500

(1) Nightsand
(1) Nightsand

acrylic on canvas . 84x66in . 2021 . $17,500

The Artist in the studio
The Artist in the studio

Shari Chandler

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

https://linktr.ee/Sharichandler

Loma Blanca
Loma Blanca

oil on canvas . 8x10in . $550

Red Rocks (Bryce Canyon)
Red Rocks (Bryce Canyon)

oil on canvas . 24x30in . $3000

Bear Grass in Snow
Bear Grass in Snow

oil on canvas . 24x30in . $2800

Foggy Morning at Big Sky
Foggy Morning at Big Sky

oil on canvas . 24x34in . $2200

Spring Storm
Spring Storm

oil on canvas . 24x30in . $2000

Morning Pronghorn Sighting
Morning Pronghorn Sighting

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

Curves Ahead
Curves Ahead

Photo reference taken on the way home from a search and rescue mission in Mogollon, New Mexico.
oil on canvas . 16x20in . $850

Cool Waters
Cool Waters

oil on canvas . 7x9in . $550

Sycamore Dreams
Sycamore Dreams

oil on linen . 18x26in . $2300

Aspen Leaf in Rain
Aspen Leaf in Rain

oil on canvas . 20x16in . $850 unframed, edges painted

Mona Lisa Smile
Mona Lisa Smile

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

Shari in her studio in Bozeman, Montana
Shari in her studio in Bozeman, Montana

Alec Johnson

Alec is a tenured professor of Entrepreneurship at the University of Saint Thomas in St. Paul, Minnesota. He has developed (pun intended) a side business in Photography.

https://www.acjfineartphoto.com

Happy Hour
Happy Hour

Jennifer and William Award for Creativie and Innovative Artwork at the Minnesota State Fair 2018 . Camilla, Marlboro and Jagermeister. archival pigment inks on archival fine art cotton . 23x27.5in . $680 framed . SOLD

Dear John Ford
Dear John Ford

archival pigment print on metallic paper . 20x30in . $820 framed

Kirk
Kirk

alien spaceship sighting on Chester Creek, Duluth, MN . -10 degree temperature . spinning wool . archival pigment print on metallic paper . 24x32in . $1100 framed

The Story of Winter: Minnesota’s Most Iconic Season
https://www.acjfineartphoto.com/video/

Mable
Mable

1960 Dodge Matador on Bullard Street, Silver City, NM . light painting . archival pigment print on metallic paper . 20x30in framed . $680 . prints also available by order $530

The Hulk
The Hulk

one of the most recognized “Rat Rods” in the US, creator/owner pictured is Chris Walker in his shop in Stacy, MN . archival print on metallic paper . 20x30in . $680 framed

Chores, Chores, more Chores
Chores, Chores, more Chores

Camilla, the day that preceded Happy Hour . archival pigment print on archival fine art cotton . 23x27.5in . $680 framed

Politicians' Promise
Politicians' Promise

ink jet with archival pigment inks on archival fine art cotton . 23x27.5in . SOLD

Frontier Faith No. 1
Frontier Faith No. 1

Taiban New Mexico . inkjet on Kodak Endura metallic paper . 20x30 . SOLD

Frontier Faith No. 2
Frontier Faith No. 2

Taiban New Mexico . inkjet on Kodak Endura metallic paper . 20x30 . SOLD

Superior Storm
Superior Storm

Kenny the weather man predicts the perfect storm on Lake Superior . archival pigment print on archival fine art cotton . 21.25x30in . framed . SOLD

12x18in archival pigment print . matted and framed . $900

Alec and Kenny produced a movie together:
The Story of Winter, Minnesota’s Most Iconic Season

https://www.acjfineartphoto.com/video/

Desert Garden
Desert Garden

Tucson Mountain Park . inkjet on Kodak Endura metallic paper . 20x30 . $650

Jim Pepperl, Blacksmith II
Jim Pepperl, Blacksmith II

Alec Johnson, artist and photographer, Jim is a Silver City Blacksmith gem. Best part of running a gallery is bringing amazing talent together.

Jim Pepperl, Blacksmith
Jim Pepperl, Blacksmith

Alec Johnson, artist and photographer, Jim is a Silver City Blacksmith gem. Best part of running a gallery is bringing amazing talent together.

 ink jet with archival pigment inks on archival fine art cotton . prints available by order

ink jet with archival pigment inks on archival fine art cotton . prints available by order

Cleaning the Badlands
Cleaning the Badlands

ink jet with archival pigment inks on archival fine art cotton . 18.25x30in . SOLD

Hosta
Hosta

ink jet with archival pigment inks on archival fine art cotton . prints available by order

Llama
Llama

ink jet with archival pigment inks on archival fine art cotton . prints available by order

Mud and Chicken
Mud and Chicken

light painting . ink jet with archival pigment inks on archival fine art cotton

Single Socks on Sale
Single Socks on Sale

ink jet with archival pigment inks on archival fine art cotton . 23x27.5in . $375

Gay Marks

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!

One for the Trail
One for the Trail

oil on canvas . 30x48in . $3800

Nosing Around II
Nosing Around II

oil on canvas . 30x40in . $4800

A Second Look
A Second Look

oil on canvas . 16x20in . SOLD

Will you be my Valentine?
Will you be my Valentine?

oil on canvas . $600

Amigos
Amigos

oil on canvas . 24x36in . SOLD

Siesta
Siesta

oil on canvas . 30x48in . $2100

Open Range
Open Range

oil on canvas . 18x24in . $900

Corona Mustangs Study
Corona Mustangs Study

oil on canvas . 16x20 . NFS

Red Rock Dreams
Red Rock Dreams

oil on canvas . 9x12in . $450

The Sculptor's Hands
The Sculptor's Hands

oil on canvas . 14x11in . NFS

Red Rock Rapsody
Red Rock Rapsody

oil on canvas . 18x24in . $775

Storm Clouds
Storm Clouds

oil on canvas . 14x18in . $525

North to Silver
North to Silver

oil on canvas . 18x24in . $775

Last Light
Last Light

oil on canvas . 18x24in . $875

On the Edge
On the Edge

oil on canvas . 16x20in . $675

Alpine Gold
Alpine Gold

oil on canvas . 16x20in . $675

The Morning After
The Morning After

oil on linen board . 10x12 . SOLD

Desert Waters
Desert Waters

oil on linen board . 8x10in . SOLD

Purchase Prize 2017 - $1500
Purchase Prize 2017 - $1500

oil on canvas . 16x20

Sonic Nights
Sonic Nights

oil on linen board . 8x10 . $300

Beech 18
Beech 18

oil on linen board . 9x12 . $300

Sweethearts
Sweethearts

oil on linen-panel . $275

Cat
Cat

oil on linen board . 6x6 . NFS

Scout
Scout

oil on linen board . COMMISSION

Screen Shot 2019-02-09 at 9.49.47 AM.png
Brandon
Brandon

oil on linen board . 12x9 . COMMISSION

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Boston Terrier
Boston Terrier

NFS

Sunny
Sunny

NFS

Maggie
Maggie

NFS

Sadie
Sadie

COMMISSION

Winter Fox
Winter Fox

oil on linen board . 10x8in . SOLD

Jackson
Jackson

NFS

Belle
Belle

oil on linen board . 8x10 . SOLD

Ramona
Ramona

NFS

Crossroads
Crossroads

oil on linen board . 9x12in . SOLD

Mojo
Mojo

NFS

Snowfall
Snowfall

oil on linen board . 8x10 . SOLD

Baddog
Baddog

oil on linen board . 9x12 . SOLD

Christmas on Bullard Street
Christmas on Bullard Street

oil on linen board . 8x10 . SOLD

Francesca Woolf

No. 133 . Rappaccini's Garden
No. 133 . Rappaccini's Garden

oil on canvas . diptych 22x22in each . SOLD

No. 29 . Reliquary IV
No. 29 . Reliquary IV

oil on canvas . 48x44in . $2000

No. 50 . Reliquary XIII
No. 50 . Reliquary XIII

oil on canvas . 50x50in . $2500

No.62 . On Being and Becoming IX
No.62 . On Being and Becoming IX

oil on canvas . 16x17in . SOLD

No. 81 . Reliquary XXIIA and Reliquary XXIIB
No. 81 . Reliquary XXIIA and Reliquary XXIIB

oil on canvas . 16x17in each . $500 each

No. 96 . Reliquary XXV
No. 96 . Reliquary XXV

oil on canvas . 24x26in . $1000

No. 106 . Barking Dogma
No. 106 . Barking Dogma

oil on canvas . 11x24in . $700

No. 108A . Joined
No. 108A . Joined

oil on canvas . 50x50in . $2500

No. 108B . Joined
No. 108B . Joined

oil on canvas . 50x50in . $2500

No. 111 . Sicilian Series IV
No. 111 . Sicilian Series IV

oil on canvas . 50x50in . $2500

No. 116 . Quartro Stagione I
No. 116 . Quartro Stagione I

oil on canvas . 50x50in . $2500

No. 118 . Buried Treasure
No. 118 . Buried Treasure

oil on canvas . 50x50in . $2500

No. 120 . Tidal Basin
No. 120 . Tidal Basin

oil on canvas . 26x26in . SOLD

No. 121 . Quatro (can't quite read this) II
No. 121 . Quatro (can't quite read this) II

oil on canvas . diptych 42x68in . $2600

No. 125 . Emerging
No. 125 . Emerging

oil on canvas . 48x48in .

No. 127 . Cosmic Series II
No. 127 . Cosmic Series II

oil on canvas 48x60in .

No. 128, No. 129 . Cosmic Series III, Cosmic Series IV
No. 128, No. 129 . Cosmic Series III, Cosmic Series IV

oil on canvas . diptych (2x) 16x17in each . $650

No. 136 . Cosmos
No. 136 . Cosmos

oil on canvas . 50x50in . $2500

No. 138 . Weather  Series
No. 138 . Weather Series

oil on canvas . 48x60in .

No. 139 . Weather Series
No. 139 . Weather Series

oil on canvas . 48x60in .

Timothy Hasenstein

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

Sculpture No. 4
Sculpture No. 4

mixed media . $800

Sculpture No. 1
Sculpture No. 1

mixed media . $800

Sculpture No. 2
Sculpture No. 2

mixed media . $800

Sculpture No. 3
Sculpture No. 3

celluclay . $800

Sculpture No. 5
Sculpture No. 5

celluclay . $800

Sculpture No. 6
Sculpture No. 6

celluclay . $500

Sculpture No. 7
Sculpture No. 7

mixed media . $500

Sculpture No. 8
Sculpture No. 8

mixed media . $500

Sculpture No. 10
Sculpture No. 10

mixed media . $500

Sculpture No. 9
Sculpture No. 9

celluclay . $500

911
911

mixed media . $950

Homage to Hieronymous
Homage to Hieronymous

mixed media . $950

Chief
Chief

mixed media . $1000

Getting Closer to Where the Coyotes Lie
Getting Closer to Where the Coyotes Lie

mixed media . $750

Climbing to Jack Mountain
Climbing to Jack Mountain

mixed media . $950

A Refugee's Spirit Vessel
A Refugee's Spirit Vessel

mixed media . $750

Homage to Dr. Seuss
Homage to Dr. Seuss

mixed media . $750

I Climb as One with the Animals
I Climb as One with the Animals

mixed media . $750

Ladder to the Ancients
Ladder to the Ancients

mixed media . $750

I Lick My Hurts and Climb
I Lick My Hurts and Climb

mixed media . $950

Wilderness4.jpg
Mask
Mask

mixed media . $30

Mask
Mask

mixed media . $30

Miriam E. Hill

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.

Geraniums and Limes
Geraniums and Limes

oil on linen board . 9x12 . $1600

Monsoon on 90
Monsoon on 90

oil on canvas . 30x40in . $4300

Mood
Mood

oil on canvas . 18x24in . $1800

Leonora Curtain Plein Aire
Leonora Curtain Plein Aire

oil on canvas . 18x24in . $1800

Going Home
Going Home

oil on canvas . 30x36in . SOLD

Towards Lordsburg
Towards Lordsburg

oil on linen . 11x14in . SOLD

Cloudscape IV
Cloudscape IV

oil on canvas . 18x24in . $1400

Cloudscape III
Cloudscape III

oil on canvas . 20x20in . $1400

Cloudscape II
Cloudscape II

oil on linen . 11x14in . SOLD

Cloudscape I
Cloudscape I

oil on canvas . 10x8in . $325

Print Fiesta
Print Fiesta

oil on canvas . 12x12in . $850

Little Walnut Plein Aire
Little Walnut Plein Aire

oil on linen board . 9x12in . $400

Blood Root
Blood Root

oil on canvas . 20x24in . $1800

Birthday Bouquet
Birthday Bouquet

oil on linen board . 14x11in . $450

Red Roses and Lemon
Red Roses and Lemon

oil on linen board . 12x9in . $585

Pinos Altos Plein Aire
Pinos Altos Plein Aire

oil on canvas . 12x12in . $325

Provence, France
Provence, France

oil on canvas . 25x30in . $4300

AfterForeman.jpg
Provence, France
Provence, France

oil on linen board . 9x12in . $800

Growth Opportunity
Growth Opportunity
Black Canyon II
Black Canyon II

oil on linen board . 5x9in . $150

Las Golondrinas
Las Golondrinas

plein air . oil on linen board . 9x12in . $450

Las Golondrinas Field
Las Golondrinas Field

oil on linen board . 6x12in . $180

Galisteo Basin Plein Aire
Galisteo Basin Plein Aire

oil on linen board . 6x12in . $180

Plein Aire in Santa Fe
Plein Aire in Santa Fe

oil on linen board . 9x12in . $400

Windmill South of Santa Fe
Windmill South of Santa Fe

oil on linen board . 6x6in . SOLD

Lavender in Abiquiu
Lavender in Abiquiu

oil on linen board . 6x6in . SOLD

LuceroPark2.jpg
LuceroPark.jpg
Lucero Park Plein Aire
Lucero Park Plein Aire

oil on linen board . 12x9in . $400

Lucero Park Plein Aire
Lucero Park Plein Aire

oil on linen board . 6x12in . $180

Abiquiu Plein Air
Abiquiu Plein Air

oil on linen . 9x12in . $800

Old Santa Fe Trail Plein Are
Old Santa Fe Trail Plein Are

oil on linen board . 6x12in . $180

Camping at Luna
Camping at Luna

oil on linen board . 8x6in . NFS

Portal Plein Aire
Portal Plein Aire

oil on linen board . 12x9in . $400

Miles Boy
Miles Boy

oil on canvas . 12x12in . NFS

Rocket the Mountain Dog
Rocket the Mountain Dog

oil on canvas . 12x12in . $500

Pedernal
Pedernal

oil on linen board . 6x6in . SOLD

Late in the Day
Late in the Day

oil on linen board . 8x10in . $400

Late in the Day II
Late in the Day II

oil on linen board . 6x8in . $150

New Mexico Land
New Mexico Land

oil on linen board . 6x8in . SOLD

New Mexico Landscape
New Mexico Landscape

oil on linen board . 6x12in . $180

Winter Tree
Winter Tree

oil on linen board . 9x12in . $500

Winter Study
Winter Study

oil on linen board . 11x14in . $300

New Mexico Winter
New Mexico Winter

oil on linen board . 8x10in . $525

Cross Road
Cross Road

oil on linen board . 8x10in . $395

Ghost Ranch
Ghost Ranch

oil on linen board . 6x8in . $125

The Yellow Wallpaper
The Yellow Wallpaper

etching . 24x18in . $1050 framed ($750 unframed)

New Mexico Sunset
New Mexico Sunset

oil on linen board . 11x14 . SOLD

Rain in Black Canyon
Rain in Black Canyon

oil on linen board . 8x10in . $450

Golden TP
Golden TP

oil on linen . 18x24in . SOLD

Oil Can
Oil Can

oil on board . 6x6in . $90 . SOLD

Honey Bear
Honey Bear

oil on gessobord . 6x6in . SOLD

White Roses
White Roses

oil on gessobord . 8x8in . SOLD

Sunflower
Sunflower

oil on canvas . 12x12in . SOLD

Peony
Peony

oil on gessobord . 10x10in . SOLD

Apples, Pears and Grapes
Apples, Pears and Grapes

oil on linen board . 9x12in . $600

Cherries
Cherries

oil on mounted linen . 8x6in . SOLD

New Mexico Gold
New Mexico Gold

oil on canvas . 16x20in . SOLD

Grapes in Silver Bowl
Grapes in Silver Bowl

oil on gessobord . 8x8 . SOLD

Abiquiu Storm Cloud
Abiquiu Storm Cloud

oil on canvas . 16x20 . SOLD

Black Canyon
Black Canyon

oil on linen board . 8x10in . SOLD

Galisteo Basin Plein Air
Galisteo Basin Plein Air

oil on linen board . 8x6 . $SOLD

Las Golondrinas Cloud II
Las Golondrinas Cloud II

oil on linen board . 9x12in . NFS

Las Golondrinas Cloud
Las Golondrinas Cloud

oil on linen board . 9x12in . NFS

South of Santa Fe
South of Santa Fe

oil on mounted linen . 6x8in . SOLD

Santa Fe Autumn
Santa Fe Autumn

plein air . oil on linen board . 10x8in . SOLD

Las Golondrinas Church
Las Golondrinas Church

oil on linen board . 9x12in . NFS

Truchas Plein Aire
Truchas Plein Aire

oil on board . 6x6in . SOLD

Santa Fe Arroyo
Santa Fe Arroyo

oil on linen board . 9x12in . SOLD

Jim Palmer

After some experimentation, I tend to enjoy figurative sculpting the most. I'm a story teller, and seem to do my best work when the piece has a connection to some yarn, or hints at some simple event which the viewer may find."

Jim Palmer was born in a small railroad town in northern Wisconsin during the great depression. Growing up he spent most of his time out of doors hunting and fishing, and often consorted with the hoboes who detrained at the bum camp outside of town.

He tried many things, often through necessity. Jim pumped gas, painted signs, dabbled in taxidermy, learned woodworking, and drove a taxi. He wanted to try everything from sky diving to freelance writing. After four years in the Air Force and graduation from the University of Wisconsin in Superior, he began his career with the Wisconsin Department of Natural Resources. Beginning as a game warden, he went on to become a commercial pilot for the department and eventually served as the chief of the Special Investigations Unit. It was during these years that he also began raising, training and showing champion Arabian horses.

There was little in Palmer's colorful background that pointed him towards sculpture, and only when he moved to the active art community of Silver city, New Mexico did this talent emerge. He found Scattergrass Studio, a gathering place for sculptors, and it was there he first laid his hands on clay. With no formal training in art, Palmer benefited greatly from the guidance and direction available there. According to Jim White, the director of Scattergrass, "Palmer showed up the first day with an innate sense of feel for the clay."

The rich memories of an eventful life have provided Jim with the subjects of his sculpture. His very first piece was an artistic and sumptuary success. The simple but elegant Herd Sire, was modeled after Palmer's Arabian stallion only weeks before the horse died. The piece was juried into the first large show he entered, and several casts of it reside throughout the U.S. and in Germany. Recently Palmer studied with the noted French sculptor Philippe Faraut at the Sculptor Academy of Austin in Texas. At the Academy of Fine Art in Loveland, Colorado Jim studied with the renown Norwegian sculptor Kirsten Kokken. He works exclusively in oil base clay and his bronze sculpture is available in strictly limited editions of three to ten casts. Jim now works at his Studio Behind the Mountain north of Silver City, New Mexico.

http://jimpalmerbronze.com

Running Free
Running Free

bronze wall relief . 19x27in . $9000

Puma
Puma

bronze . 13 (tall) x 16 x 14in . $6500

Sly's Sib
Sly's Sib

bronze . 14in height . $4300

The Image Maker
The Image Maker

bronze . 15x17in . $5100

The Image Maker detail-1.JPG
Der Zirkuspherde
Der Zirkuspherde

bronze . 14x9in . 4 of series of 4 . $1100

Bum and Bindle
Bum and Bindle

bronze . 18x11in . SOLD

Behind the Plate
Behind the Plate

bronze . 16x13in . $4100

Sly
Sly

bronze . 14x9in . SOLD

The Spearfisher
The Spearfisher

bronze . 18.5x13in . SOLD

The Cobra
The Cobra

bronze . 12x17in . $1600 . SOLD

Bill Woolf

Exhibitions

Later Impressions 1996
juried exhibition of work by Chicagoland senior artists
James R. Thompson Center, Chicago IL

The Intuit Show 2003
of folk and outsider art
Chicago, IL

Outsider Art Fair 2005
Puck Building, Chicago, IL

Overview: Paintings by Bill Woolf 2006
Noyes Cultural Arts Center
Evanston, IL

No. 65  (1991)
No. 65 (1991)

oil on canvas . 24x42in . $3000

No. 1   Outer Drive Series (2002)
No. 1 Outer Drive Series (2002)

oil on canvas . 54.5x72in . $12,000

No. 2   Outer Drive Series (1998)
No. 2 Outer Drive Series (1998)

oil on canvas . 54.5x72in . $12,000

No. 3   Outer Drive Series (2005)
No. 3 Outer Drive Series (2005)

oil on canvas . 54.5x72in . $12,000

No. 4   Outer Drive Series
No. 4 Outer Drive Series

oil on canvas . 54.5x72in . $12,000

No. 6
No. 6

oil on canvas . 54.5x72in

No. 7
No. 7

oil on canvas . 54.5x72in . $9000

No. 8  (1993)
No. 8 (1993)

oil on canvas . 46.5x72in . $9500

No. 9 (2004)
No. 9 (2004)

oil on canvas . 38x72in . $8200

No. 10  (1993)
No. 10 (1993)

oil on canvas . 46.5x72in . $8200

No. 11  (1983)
No. 11 (1983)

oil on canvas . 50x50in

No. 12 (1984)
No. 12 (1984)

oil on canvas . 38x38in . NFS

No. 13  (2001)
No. 13 (2001)

oil on canvas . 30x46in

No. 14  (2001)
No. 14 (2001)

oil on canvas . 30x46in .

No. 15  (2001)
No. 15 (2001)

oil on canvas . 3046in

No. 16  Greenleaf Street
No. 16 Greenleaf Street

oil on canvas . 22x46in . $3000

No. 17  (2006)
No. 17 (2006)

oil on canvas . 22x46in

No. 18
No. 18

oil on cavas . 20x48in

No. 19  (2006)
No. 19 (2006)

oil on canvas . 20x48in

No. 20  (1984)
No. 20 (1984)

oil on canvas . 38x38in

#21.jpg
No. 22  (1983)
No. 22 (1983)

oil on canvas . 36x36in

No. 23
No. 23
No. 24  We Don't Hate, We Obey
No. 24 We Don't Hate, We Obey

oil on canvas . 24x36in

No. 25
No. 25

oil on canvas . 24x48in

No. 26
No. 26

oil on canvas . 36x36in

No. 27  (1999)
No. 27 (1999)

oil on canvas . 24x38in

No. 28  (2006)
No. 28 (2006)

oil on canvas . 24x30in . $3000

No. 29  (1993)
No. 29 (1993)

oil on canvas . 24x38in

No. 30
No. 30

oil on canvas . 60x72in

No. 31  Intruder Series #3  (1994)
No. 31 Intruder Series #3 (1994)

oil on canvas . 21x52in

No. 32  (1992)
No. 32 (1992)

oil on canvas . 24x42in

No.. 33  Battle of Cane Hill, Arkansas  (1990)
No.. 33 Battle of Cane Hill, Arkansas (1990)

oil on canvas . 20x32in

No. 34  Battle of Missionary Ridge, Tennessee  (1990)
No. 34 Battle of Missionary Ridge, Tennessee (1990)

oil on canvas . 20x32in

No. 35  Battle of Balls Bluff, Virginia (1990)
No. 35 Battle of Balls Bluff, Virginia (1990)

oil on canvas . 20x32in

No. 36  Battle of Malvarn Hill, Virginia  (1990)
No. 36 Battle of Malvarn Hill, Virginia (1990)

oil on canvas . 20x32in . $1200

No. 37  Battle of Pleasant Hill, Louisiana  (1990)
No. 37 Battle of Pleasant Hill, Louisiana (1990)

oil on canvas . 20x32in

John Brown . Civil War Portrait Series  (1999)
John Brown . Civil War Portrait Series (1999)

oil on canvas . 26x15in . $750

Confederate Boy before Battle of Malvrin Hill  (1999)
Confederate Boy before Battle of Malvrin Hill (1999)

oil on canvas . 26x15in . $750

Winfield S. Hancock . Civil War Portrait Series  (1999)
Winfield S. Hancock . Civil War Portrait Series (1999)

oil on canvas . 26x15in .$750

No. 39 Asbury Avenue
No. 39 Asbury Avenue

oil on canvas . 22x46in . $1900

No. 40  Smitty's Mine  (1991)
No. 40 Smitty's Mine (1991)

oil on canvas . 22x46in

No. 41  (1999)
No. 41 (1999)

oil on canvas . 24x38in

No. 42  (1992)
No. 42 (1992)

oil on canvas . 24x42in . NFS

No. 43
No. 43

oil on canvas . 24x42in

No. 44  (1994)
No. 44 (1994)

oil on canvas . 21x52in . NFS

No. 45  (2003)
No. 45 (2003)

oil on canvas . 23x42in

No. 46  (2003)
No. 46 (2003)

oil on canvas . 20x32in

No. 47  (2008)
No. 47 (2008)

oil on canvas . 18x36in

No. 48  (2008)
No. 48 (2008)

oil on canvas . 18x36in

No. 49  (1991)
No. 49 (1991)

oil on canvas . 20x32in

No. 50  (1991)
No. 50 (1991)

oil on canvas . 20x32in

No. 51  So You Think You Can Tell  (1997)
No. 51 So You Think You Can Tell (1997)

oil on canvas . 22x26in

No. 52  Surfing Cable Series . Portrait of a Serial Killer
No. 52 Surfing Cable Series . Portrait of a Serial Killer

oil on canvas . 22x26in

No. 53  (1997)
No. 53 (1997)

oil on canvas . 22x26in

No. 54  (2000)
No. 54 (2000)

oil on canvas . 26x15in

No. 55
No. 55

oil on canvas . 24x24in

No. 56  (1984)
No. 56 (1984)

oil on canvas . 24x24in

No. 57  (1990)
No. 57 (1990)

oil on canvas . 30x46in

No. 58  (1984)
No. 58 (1984)

oil on canvas . 24x24in

No. 59  (2007)
No. 59 (2007)

oil on canvas . 24x18in

No. 60  (2007)
No. 60 (2007)

oil on canvas . 24x18in

No. 61  Family Portraits
No. 61 Family Portraits

oil on canvas . 24x12in each

*back of No. 61 Family Portraits
*back of No. 61 Family Portraits
No. 62  (2008)
No. 62 (2008)

oil on canvas . 24x12in each

*back of No. 62
*back of No. 62
No. 63  (2007)
No. 63 (2007)

oil on canvas . 24x18in

No. 64  Road to Oblivion, My Mother  (2008)
No. 64 Road to Oblivion, My Mother (2008)

oil on canvas . 18x9in each

No. 66  Intruder Series  (1996)
No. 66 Intruder Series (1996)

oil on canvas . 21x52in

No. 67  Self Portrait
No. 67 Self Portrait

oil on canvas . 18x18in . NFS

prev / next
Back to Artist Gallery
Holdin' Down the Roof
29
Ann E. Hudson (Wiley)
No. 1285
40
Rick O'Ryan
Botanical 180
39
Steve Collins
Shining Stone
8
Cecilia Robertson
Raven and Berry Pot
77
Letha Cress Woolf
Vista from Point Sublime, North Rim of the Grand Canyon
12
Craig L. Wentz
Camargue No. 40 . Manon
15
Tony Bonanno
Twilight Desert
17
Bill Gallen
Bird Heros
20
Nina Bednarski
Springtime Anticipation
36
Richard Harper
Under the Table
27
Richard Woodruff
Loma Blanca
12
Shari Chandler
Happy Hour
19
Alec Johnson
One for the Trail
40
Gay Marks
No. 133 . Rappaccini's Garden
20
Francesca Woolf
Spirit Vessels
23
Timothy Hasenstein
Geraniums and Limes
70
Miriam E. Hill
Running Free
11
Jim Palmer
No. 65  (1991)
70
Bill Woolf

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