It has been said that Woody Crumbo's art was not aimed at figurative realism but, with the animals, such as this horse and colt, he brought out what he saw as their spirit, often in vivid colors, however, colors were not used in his copper plate etchings.

Crumbo was born of a Potawatomi mother and orphaned at age 7.  He then lived with a Creek family, then a Kiowa family and, finally a Sioux family.  This exposed him to cultures of many tribes and that contributed to his art career and life.  With this experience, he found a way to honor, promote and preserve history of many tribes.

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Woody Crumbo was widely known for his copper plate etchings, silk screen prints and paintings.  The etchings and silkscreen prints were his contribution to making his art affordable to more people in an attempt to bring to the world the nature of Indian lives and art.  The copper plate etchings, such as this one, were titled and signed but not numbered so there is no record of the quantity produced of each image.

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Woody Crumbo was an accomplished artist in the medium of copper plate etchings and he produced them in an attempt to make his art affordable and available to a widespread audience.  Through his printmaking, he produced images of animals, Indian dancers, and Indian customs and life styles.  It was his intent to bring Indian lives and manners to a large group of potential art collectors.

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Woody Crumbo was born in Oklahoma and spent a large part of his life there, but spent his later year in Taos, New Mexico, and was living in Cimarron, New Mexico, when he died on April 4, 1989.  He dedicated his life to portraying the life and culture of Native Americans in the hope of presenting them as they existed at that time because change was inevitable. He was born of the Potawatomi Tribe, was orphaned at age 7, and then lived with a Creek Indian family.  He learned the customs of the Creek, studied those of the Kiowa and then was adopted by a Sioux family. His early schooling, like that of many Native American Indians, was at a U.S. Government Indian School.

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Carl Von Hassler was an amazing artist who was partly responsible for bringing attention to Albuquerque as an art colony.  Von Hassler, Carl Redin, Raymond Jonson, Howard Schleeter, Nils Hogner and others dominated the art scene in the early 20^th century and it is to them we owe gratitude for establishing an art scene in Albuquerque.  There were female artists as well, but they were in mid- and late-20^th century.

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Agnes Tait (1894-1981) was born in Greenwich Village, New York City, in 1894. After graduating from grammar school, she applied to the National Academy of Design where she earned multiple awards for her work.

In 1927 she spent several weeks in a studio in Paris where she studied lithography at the École des Beaux-Arts before returning to New York City to rent her own studio in Lower Manhattan. Her first exhibition was held with fellow female artists and received a review in the New York Times. She continued to find success as an artist.

Agnes Tait (1894-1981)

Category: Paintings
Origin: European-American Artists
Medium: oil on artist board
Size: 11" x 13-1/2" image;
15" x 17-1/2" framed
Item # 25776

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Carl Von Hassler was considered Albuquerque's most famous artist and apparently quite an eccentric.  When not producing oil paintings of adobe homes snuggled under massive cottonwood trees, he would hang out at the Franciscan Hotel bar in downtown Albuquerque visiting and chatting with others while imbibing.

Carl Von Hassler (1887-1969)

Category: Paintings
Origin: European-American Artists
Medium: oil on canvas
Size: 15-1/2" x 21-1/2" image;
21-1/4" x 27-1/4" framed
Item # 25804

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If there was one subject that Tahoma painted to perfection, it was horses.  As all Navajo, he had a respect and love of horses and he knew intimately how to portray them at their best.  This blue stallion presents itself as bold, strong and in command.  He is standing on a hill with his head raised to the wind with every muscle in his body taut.

Quincy Tahoma (1917-1956) Water Edge (near water)

Category: Paintings
Origin: Diné - Navajo Nation
Medium: Gouache on paper
Size: 21-1/4" x 18-1/8" image;
29-3/4" x 25-3/4" framed
Item # C3613G

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The Albuquerque art scene traditionally has been overlooked in relation to the attention paid to the Santa Fe and Taos artists of the early 20th century.  The artists of Albuquerque have been a close-held secret by Albuquerque residents because they tended to collect from those artists which prevented their works from being available on the art market.

Carol MCILROY (1924-1999)

Category: Paintings
Origin: European-American Artists
Medium: oil on artist board
Size: 17-1/2" x 23-1/2" image;
25" x 31-1/4" framed
Item # C3719C

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The Navajo artist who made this pin used stamp work as well as soldered pieces of silver to create the effect of a real butterfly. The artist used small floral-shape stamps to create designs on the wings and added a piece of silver to create the mid section of the butterfly at which point he inserted a deep blue turquoise stone. Little round silver balls and silver wire make up the head and antennae.

Origin: Diné - Navajo Nation
Medium: Sterling Silver, Turquoise
Size: 1-1/8" x 1"
Item # 25271

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Helen Maria Hunt Jackson (1830 - 1885) born Helen Fiske

Subject: Southwest Anthropology and History
Item # B00085JDBE
Date Published: 1902
Size: Hardback, 292 pages, Beautiful illustrations

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MARVELS OF THE NEW WEST: A Vivid Portrayal of the Stupendous Marvels in the Vast Wonderland West of The Missouri River

 Six Books in One Volume

Comprising: Marvels of Nature, Marvels of Race, Marvels of Enterprise, Marvels of Mining, Marvels of Stock-Raising, and Marvels

of Agriculture

Graphically and Truthfully Described by William M. Thayer

Illustrated with Over 359 Engravings and Maps

The Henry Bill Publishing Company - Norwich, Conn

1887

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The company completely succeeded in its mission in the manufacture of this pair of chairs.  They embody the simplicity of Mission Oak furniture, they are massively heavy and strong, and they are sturdy and extraordinarily comfortable.  They have endured for over 100 years as evidenced by their inclusion in the company's 1910 catalog.  Each has a paper label attached on which the chair number 688 (rocking chair) and 688-1/2 (straight chair) is marked.

Grand Rapids Bookcase and Chair Company

• Category: Mission Oak Furniture
• Origin: Arts and Crafts Movement
• Medium: Quarter Sawn Oak, Leather
• Size: 32" height x 22" width - PAIR
• Item # 24913

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As usual, Brian Honyouti, from Hopi Pueblo, has presented this doll as a one-piece carving, with the hand-held items and possibly the pair of feathers on the head being added.  Brian is one of the best carvers on the reservation and has been for several decades.  This is an excellent example of his very fine carving of a doll in a smaller scale.

Brian Honyouti (1947- )

• Category: Traditional
• Origin: Hopi Pueblo
• Medium: wood, oil stains
• Size: 6-3/4" tall
• Item # C3627H

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This Katsina Doll carving by Kevin Pochoema was completed in 1994, at which time we sold it to the current owner.  It is an all-wood carving with oil base stains highlights.  Kevin illustrated in this Hopi Pueblo doll, completed over 20 years ago, his early ability to carve dolls of great motion with expressive features and flowing hair.  This is an excellent carving in every respect.

Kevin Pochoema (1965- )

• Category: Traditional
• Origin: Hopi Pueblo
• Medium: wood, oil stains
• Size: 7-5/8" maximum height
• Item # C3627B

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This small version of Soyok Wuhti, the dreaded Ogre Woman of Hopi, was carved by Lester Quanimptewa in 1997, at which time we purchased it from the artist.  It is an all-wood single piece carving with the exception of the lone feather on the head and the items in her hands.  The artist achieved an amazing amount of detail in such a small figure.  The katsina stands 3-3/4” tall and the pedestal is another 2 inches.

Lester Quanimptewa (1962- )

• Category: Traditional
• Origin: Hopi Pueblo
• Medium: wood, oil stains
• Size: 5-3/4” Tall
• Item # C3627C

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The Zuni Shalako ceremony, held every year in late November or early December, draws an audience of mixed variety-many Navajo Indians, Pueblo Indians, Hispanic New Mexicans, and Euro-American tourists flock to the all-day and all-night event.  It is not unusual then to see parts of the ceremony painted by Navajo and Pueblo artists who have witnessed the event in person.

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Southwest Indian Pottery vessels of this shape have been designated engagement baskets. They are a 20^th-century development, having first appeared in the 1960s. The twisted handle is a symbolic representation of the bond that ties the couple together.  It is not known who made the first one.

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This is the largest and finest Southwest Indian Pottery Jar by Carmelita Dunlap that I recall ever seeing.  It is massive in size and beautifully made and designed.  The design is confined to the mid-body and consists of rectangular panels, each of which contains a unique design.  The jar is beautifully thin-walled.

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Most collectors are aware that Jennie Trammel made fewer pottery items than any of the other daughters of Margaret Tafoya.  She had a full-time job away from Santa Clara Pueblo and had little time for making Southwest Indian Pottery.  Interestingly, she was absolutely a phenomenal potter and produced the most beautiful carved wares of the 20th century.

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