GPG Insight Newsletter: Summer 2018

SUMMER 2018

GERALD PE TERS GALLERY P E T E R S P R OJ E C T S S A N TA F E A R T AU C T I O N

CONTENTS

Gerald Peters Gallery, New York Summer Exhibition..................................................................... 3 Will Clift.................................................................................... 3 gpgallery.com/newyork

Gerald Peters Gallery, Santa Fe Bookstore ................................................................................. 4 Datus Myers’ Estate .................................................................. 5 James Gerken Interview ............................................................ 6 C. M. Russell: Storyteller in Bronze ............................................ 7 gpgallery.com/santafe

Peters Projects Maurice Burns .......................................................................... 8 Walking in Beauty ..................................................................... 9 petersprojects.com

Santa Fe Art Auction Natalie Curtis Burlin................................................................... 10 Hardin-Velarde .......................................................................... 11 santafeartauction.com

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Upcoming Special Events The Color of Drought Q&A with Karen Kitchel, moderated by Bill Gilbert, founder land arts of the American West and Emeritus Distinguished Professor University of New Mexico: Saturday, August 25th at 2pm Gerald Peters Gallery, 1005 Paseo de Peralta Produced and Directed by Charles M. Russell: The Cowboy-Artist and Hollywood Talk by Western Scholar B. Byron Price Saturday, August 25th, at 11am Gerald Peters Gallery, 1005 Paseo de Peralta John Ford Classic Film: Fort Apache Introduction by Johnny D. Boggs Saturday, August 25th, at 4pm Jean Cocteau Cinema, 418 Montezuma Ave Western Decorative Arts Online Sale August 11th-26th Bidding available through Bidsquare.com The Patricia E. and William C. Bates Collection of New Mexico Art Live Online Sale - October 13, 2018

GERALD PETERS GALLERY, NEW YORK

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Gerald Peters Gallery, New York, wrapped up an exciting Spring season with a sold-out show of paintings by Logan Maxwell Hagege. Grabbing the interest of a new group of east coasters and continuing to impress his established collectors, the exhibition brought a taste of the American west to the Gallery’s program of contemporary American Realism.

Continuing our focus on realism, this summer the gallery is showcasing the work of three contemporary women artists: Lorraine Shemesh, Clio Newton, and Clarice Smith. In the upstairs gallery, Shemesh and Newton grapple with the human figure in their large-scale works, the former working in oils and the latter in charcoal. Both play with perspective and scale to test the bounds of realism. On display downstairs, the paintings of Clarice Smith take the artistic focus away from the human figure to the landscape. In particular, the series of six “Skyscapes” occupying the central wall of the exhibition space show Smith’s contemporary exploration of a theme that has preoccupied artists since the eighteenth century.

Looking ahead to the fall, GPGNY is excited to be showing a selection of new works by Will Clift. Interplays will open in September and will present a group of new sculptures that show Clift’s continuing exploration of balance, energy, and form.

In his own words: “In my sculptures I explore the line between order and disorder, combining intersecting parts into a whole that stands in delicate equilibrium on a small foot. Each work is inherently precarious, yet ultimately poised and stable…. I use this narrow point of balance to connect viewers to something beyond the sculptural object itself. In each static form is tension, the suggestion of gesture or movement, the ephemeral moment A Trio of Extending Forms, 2018, wood, carbon fiber composite, 36 1/2 x 33 x 2 inches

between breathing in and out. There’s potency and power in equilibrium, as well as grace, when the point of balance is reached.

“As I would have said in my days as an engineer, this point of balance is where potential energy transitions into kinetic energy, and a form narrowly balanced can appear to contain both. For me the balance and the form in my sculptures are inseparable from each other, and I develop them through intuition, rather than any sort of calculation.”

Coming In and Over, Around the Center, 2018. wood, carbon fiber composite 32 1/2 x 42 1/2 x 3 1/2 inches

For further information contact Directors Alice Levi Duncan and Alexandra Polemis Vigil 24 East 78th St., New York | Call 212-628-9760 | Email: aduncan@gpgalleryny.com or apolemis@gpgalleryny.com 3

GALLERY BOOKSTORE

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Taos Artists and Their Patrons 1898-1950 The legendary tome on the famous Taos Artists is back in our inventory! Taos Artists and Their Patrons 1898-1950, by Dean Porter, Teresa Hayes Ebie and Suzan Campbell, long out of print and published in 1999, has remained the finest resource on the Taos Artists, their history, the people who supported them and their subjects.

400 packed pages of scholarly (but highly readable) biography and profusely illustrated, this book belongs in the library of anyone who is interested in Southwest art and the colorful individuals, like Victor Higgins, Joseph Sharp, Ernest Blumenschein, E. Martin Hennings and all the others who populated the various studios in and around Taos, New Mexico. This book is in fine condition. For more information please call our Gerald Peters Gallery bookstore in Peters Projects, 505-954-5700 or email us at bookstore@gpgallery.com. $295.00

Nicolai Fechin: Across Two Continents Nicolai Fechin: Across Two Continents was Gerald Peters Gallery’s 1997 exhibit catalogue: a collection of paintings, drawings and sculpture by the great Russian expatriate artist. From his spontaneous, vibrant interpretations of the New Mexican landscape to his sensitive portraits of the Balinese, Fechin’s ability to convey the spirit of his age was unrivaled by his contemporaries. His palette was original and sublime. Includes an interview with his daughter, Eya Fechin.

Essay by Amy Scott. 84 pages, 55 color plates, 8 Black & white photographs.

Softcover. This long out of print catalogue represented, for years, one of the very few substantive published works on the artist. We here at the bookstore are excited to have come across this rarity! $35.00

Q&A with John Macker Bookstore and Publication Director

For further information contact John Macker, Publications and Bookstore Director 1011 Paseo de Peralta, Santa Fe | Call: 505-954-5700 | Email: bookstor@gpgallery.com 4

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GERALD PETERS GALLERY, ESTATES

Datus Myers’ Estate In 1996 Gerald Peters Gallery acquired the Datus Myers’s estate. Comprised mostly of drawings, the estate had remained boxed and stored for the last two decades. Then in 2017, the gallery connected with scholar Kathy Flynn and the New Deal Preservation Association. Flynn brought to our attention the connection between Myers’s and the WPA. Newly informed and inspired, the gallery continued its research and decided to schedule an exhibition of Myers’s works alongside various Pueblo Painters he would have known during his years as Field Coordinator of the Indian Division for the New Deal’s Public Works of Art Program.

Last Friday, the exhibition opened to great success. Over 160 people attended the opening, including Myers’s granddaughter. The gallery is pleased to bring attention to this artist whose contributions as an artist and art administrative have been previously overlooked.

Our Santa Fe gallery represents the estates of numerous regional artists, most of whom were active members of the Santa Fe Art Colony during the 1920s and 1930s.

While most of these artists moved to Santa Fe or Taos during the early decades of the twentieth century, others were short-term residents or summer visitors here such as Marjorie Eaton and Albert Krehbiel. Whether they came to capture the colorful scenery, to benefit from the low-cost of living, or to take advantage of the clear, dry air, these early artists left a colorful artistic legacy that has greatly enriched the cultural history and creative identity of this region.

Our New York gallery, which specializes in American Modernists, also boasts a strong estates department.

Shared between the two galleries is the estate of Max Weber (1881-1961). While Weber did not paint in New Mexico, he was an important early member of the Stieglitz circle in New York and a key figure among America’s first avant-garde.

Datus Myers, Burros, 1932, gouache and watercolor on fabric, 11 ¼ x 16 ¾ inches

We represent the following estates: Frank Applegate Jozef Bakos Cyrus Baldridge Marjorie Eaton Joseph A. Fleck Albert Krehbiel Margaret Lefranc Datus E. Myers Willard Nash Helmuth Naumer

B.J.O. Nordfeldt Albert Schmidt Phyllis Sloane Harold Joe Waldrum Max Weber Harold Weston Nancy Wood Marguerite Zorach William Zorach

For further information contact Directors Alice Levi Duncan and Alexandra Polemis Vigil 24 East 78th St., New York | Call 212-628-9760 | Email: aduncan@gpgalleryny.com or apolemis@gpgalleryny.com 5

GERALD PETERS GALLERY, SANTA FE

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An interview with James Gerken about artist Ralph Meyers - When did you begin collecting Ralph Meyers works?

I guess the year was about 1985. I was working in Denver in the financial industry and I had a good friend who was a real scholarly fellow and he was fascinated with the Native American culture so we started venturing out from Denver and traveling to Taos and other places. I finally made it to the El Rincon, Ralph Meyers’s trading post where Rowena Meyers, Ralph’s wife was still living and manning the post. I spent a good bit of time just absorbing her and her knowledge. She and Ralph were such good friends with Mable Dodge that they were invited to all the parties with all the luminaries. Ralph with his third grade education and Rowena with her intellect and charm would be entertained by Mable and that really impressed me. I guess my love affair started there. And then when I got to know Ralph and Rowena’s children, Nina Meyers and Ouray Meyers, they were also very accomplished people and told the most wonderful stories. And when I saw the paintings.. I’d never seen anything like it. Meyers bowls me over.

- What is it about Meyers, his work or story which captivated you?

I think his work…it’s hard to put into words…his ability to capture moments in time and colors in landscapes. I found a kindred spirit in Ralph Meyers. He came from the mid-west so did I, he ended up in Denver so did I, got fascinated with Taos and then moved here so did I and I got to know his entire family so I felt like I got to know him.

- Are there any other artists you have collected with the same dedication?

Well, yes, as a matter of fact, Ralph may be responsible for turning me on to Taos but it then became just about my favorite place. I started falling in love with a number of the artists. You have to be kind of choosey because there are so many artists but I built a collection around Beatrice Mandelman and Louis Ribak and Charles Stewart.

- Do you have any recommendations for people who are new to collecting?

It’s all about passion. You just have to begin. When that thunderbolt hits you, you just have to go with it.

James Gerken in front of El Rincon Trading Post, Taos, NM

Ralph Meyers, Kiowa Camp, 1927, oil on board, 7 ½ x 9 ½ inches

- What do you think will be your next endeavor?

I am a partner in a new Asian restaurant, Donabe, in the historic Manby house in downtown Taos. My contribution to the restaurant will be displaying works of art of prominent Taos artists.

For further information contact Gallery Directors Maria Hajic and Evan Feldman 1005 Paseo de Peralta, Santa Fe | Call: 505-954-5700 | Email: mhajic@gpgallery.com or efeldman@gpgallery.com 6

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GERALD PETERS GALLERY, SANTA FE

Produced and Directed by Charles M. Russell: The Cowboy Artist and Hollywood

Charles M. Russell, Smoking Up, bronze, 12 x 10 x 6 inches

The Gerald Peters Gallery is proud to present C. M. Russell: Storyteller in Bronze, an exhibition featuring many of his iconic bronzes through which we glimpse his personal observations and humorous reflections of the vanishing Western frontier.

In conjunction with the exhibition, Western scholar B. Byron Price will explore Charlie Russell’s encounters in Hollywood during the Roaring 20’s and the symbiotic relationship between his art and western cinema. From 1920 until his death in 1926 Russell spent several months every winter in southern California. He created new works and hobnobbed with friends and patrons, such as actors William S. Hart, Harry Carey Sr. and Will Rogers. They introduced him to other leading actors and directors of the day, including John Ford. Borrowing ideas and compositions from Russell, Ford and others brought his paintings to life on the big screen.

The gallery will partner with the Jean Cocteau Theatre in Santa Fe to present the John Ford Classic, Fort Apache, starring Henry Fonda and John Wayne.

Well-known western author, Johnny D. Boggs, will introduce the film.

Please contact Maria Hajic at mhajic@gpgallery.com for 505 954 -5719 for specific details.

Charles M. Russell, Will Rogers, bronze, 10 1/2 x 9 3/8 x 4 7/8 inches

For further information contact Gallery Directors Maria Hajic and Evan Feldman 1005 Paseo de Peralta, Santa Fe | Call: 505-954-5700 | Email: mhajic@gpgallery.com or efeldman@gpgallery.com 7

PETERS PROJECTS

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Maurice Burns Peters Projects is pleased to present an upcoming exhibition of paintings by Santa Fe artist, Maurice Burns, who is joining the gallery as a represented artist. After studying at the Rhode Island School of Design using a G.I. Bill, Burns went on to the Royal College of Art in London, staying at the home of renowned Art Historian Sir Kenneth Clark. It was also at this time that Burns became close friends with the painter R.B. Kitaj.

Born in Cleveland, Ohio, Kitaj attended the Royal College of Art and spent many years living and working in London. Kitaj’s figurative paintings are electrified by bold movement and color.

Blues for Linda, 1989, oil on canvas, 56 x 76 inches

Though distinctive in their own respective styles, a shared influence can be found between Burns’ and Kitaj’s work. Burns eventually came to Santa Fe to teach at the Institute of American Indian Arts, and set up his own studio space. He has remained in The City Different ever since.

Maurice Burns’ work is often inspired by his love of music, primarily jazz. Miles Davis, Jimmy Yancy, and swinging Harlem nightclubs provide the subject of several of his paintings. Southwestern honkytonks and Maurice Burns in Studio Cuban nightclubs also enter into his subject matter with vibrant color and superb composition. Some of Burns’ paintings are a bit more magical and inhabit a liminal, surreal space that includes Native American imagery and dream-like figures that appear to hover on the canvas. No matter the setting of Burns’ paintings, they always incorporate his superb draftsmanship and affinity for figurative work, as well as his playful exploration of scale and collage-like layering of subjects and symbols. Curator Amanda Malloy, who is also the Assistant Director of Peters Projects, hopes to see you at the opening of this fantastic exhibition, which is sure to be a swinging event.

For further information contact Assistant Director Amanda Malloy 1011 Paseo de Peralta, Santa Fe | Call: 505-954-5800 | Email: amanda@petersprojects.com 8

PETERS PROJECTS

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Walking in Beauty: Calabaza and Clark at Peters Projects August 17, 2018 - September 22, 2018 Long time Southwest jewelry icons Jimmy Calabaza (Ca’Win) of Santo Domingo Pueblo and Navajo artists Carl and Irene Clark of Arizona will be featured in a major exhibit of contemporary native jewelry at Peters Projects, 1011 Paseo de Peralta, Santa Fe, NM, beginning with an opening reception Friday, August 17, 2018, 5-7 p.m.

Jimmy Calabaza whose native name is Ca Win, has won six first place awards at the Santa Fe Indian Market. A self-taught silversmith, in the late 1980’s, he began creating necklaces with a silver side box which have now become internationally known. He works in both natural and stabilized turquoise. He prefers to do his own cutting, which means taking rough stones and shells and then fashioning them into polished products. Jimmy’s choice for working with large raw stones and following the natural lines of the material is that it allows each piece its own identity and uniqueness. As Jimmy has said, “It’s about preserving the art, with your hands, your heart and your head.” Calabaza also fashions superb bracelets, bolo ties, rings and earrings of blue turquoise, coral and other precious stones.

Navajo jewelers Carl and Irene Clark are famous for their extremely fine quality jewelry. Detail is the term that best describes their legendary micro-fine inlaying technique. As Carl Clark states, “I learned all of my silver-smithing and inlaying techniques by trial and error without a teacher. Since there was no category for my type of inlay back then, in the early 1970’s, I classified it myself as ‘micro-fine intarsia.’” Carl then taught his wife, Irene and subsequently their son, Carl Jr. the Clarks come from large families that also include jewelers, painters and rug weavers.

Jimmy Calabaza (Ca’win)

Carl was born in Winslow, Arizona and is from the Manygoat-Redhouse Clan.

The Rainbow Man Yei, the image found in most of their inlays, represents a “jewelry of protection” theme. “Artistically speaking, we use the inlay as a picture and the metal work, whether silver or gold, as the picture frame.” The Clarks developed the idea of the image or picture as a micro-fine native rug design and the color blend is an authentic and original technique that suggests a “day into night” quality.

For the last 30 years, the Clark’s work has been shown in all of the major southwestern native jewelry shows including the Heard Museum and Santa Fe’s Indian Market. They also show their work in museums and galleries throughout the southwest and New York City, and have won many awards for their original work. They have also been featured in many books and other publications including Southwest Indian Jewelry by Dexter Cirillo and Enduring Traditions by Lois and Jerry Jacka.

Carl and Irene Clark

In the adjoining gallery space, the Gerald Peters Gallery bookstore will feature their large inventory of Native American art books, both in and out-of-print.

For further information contact Director Mark Del Vecchio 1011 Paseo de Peralta, Santa Fe | Call: 505-954-5800 | Email: mark@petersprojects.com 9

SANTA FE ART AUCTION

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Natalie Curtis Burlin (1875-1921) The Santa Fe Art Auction is always gratified and excited to have the opportunity to “unearth” previously neglected or unknown works by artists whose careers, for whatever reason, haven’t found the critical or popular light of day. The SFAA is heralded for its diligence, scholarship and devotion to finding the obscure masterpiece or neglected artist. The process of discovery and the commitment to presenting the unusual gem as well as the well-documented master has been our auction’s forte for over two decades.

With this in mind, we’re pleased to present an artist who not only painted inspired landscapes, but was known for her groundbreaking work with the Indigenous people of the American Southwest.

To tell the truth, we don’t know how author, preservationist and renowned ethnomusicologist Natalie Curtis Burlin (18751921) managed to find the time to be an artist and paint the large oil on canvas of King’s River Canyon in the Sierra Nevada, California, that will be in this year’s Santa Fe Art Auction on November 10th. It is not known exactly when it was done — scholars have narrowed it down to one summer during the years 1917-1920 during a California excursion, to escape the heat of Santa Fe, NM where she lived — but it’s similar to a group of her signed Luminist-style landscapes produced in Southern Europe, during the first decade of the 20th century.

A product of the Victorian era, she began her career in New York City as an undereducated but talented musician. At the turn of the century — pushing the envelope on what a “proper” young American woman could accomplish —Natalie Curtis’s travels in the American Southwest ignited her interest in the music and folklore of the American Indian.

As her awareness and appreciation of Native American art blossomed, she worried that, in the face of white assimilation and government hostility, much of Native culture would disappear. At Hopi in Northern Arizona, she began transcribing and recording Indian music. This was a tumultuous time at Hopi as officials in charge of the Moqui Reservation forced children to attend the government school, cut their hair, forbid them to speak their native tongue or sing their songs in school. Surreptitiously, she kept recording and eventually, befriended many in the Pueblo.

Outraged at the conditions she observed on the reservations, Natalie returned East and enlisted the help of family friend, President Theodore Roosevelt. Teddy responded to the Indians’ dilemma with his trademarked compassion and vigor, and dispatched Natalie back to the Southwest with a personal

Natalie Curtis Burlin (1875-1921), King’s River Canyon, Sierra Nevada, ca. 1917-1920, oil on canvas, 36 x 60 inches, Estimate: $15,000-$20,000

letter authorizing her to record the songs of the Navajo and Hopi and other groups.

In 1907, her classic text on Indian culture, (especially music), The Indians’ Book appeared to great acclaim and has remained in print ever since. It was the most comprehensive collection of Indian songs to appear to that point. (It was illustrated by Angel deCora.) Her success with the book brought her recognition as an expert on Indian culture and she continued traveling, lecturing, writing and collecting. She wrote over 75 magazine and newspaper articles on subjects ranging from folklore, Native arts and crafts and art history to architecture and biography. She became an early enthusiast of African-American culture as well.

Her interests were varied and her passion for her subjects was matched only by her fealty to scholarship.

Not surprisingly, these passions led her to Santa Fe and its vibrant culture and art colonies. They also led her into the arms of respected painter Paul Burlin, and they would tie the knot in 1917; they lived in Santa Fe until leaving for France in 1920. Paul participated in the 1913 Armory Show in New York.

But who was Natalie Curtis Burlin really?

All we know for certain is her lush, tranquil landscapes owe more than a passing nod to other noted Luminists such as Albert Bierstadt and Frederic Edwin Church. What she may have absorbed in terms of Northern New Mexico’s enchanted colors, skies and vistas, she’ll take to her grave.

Because of her untimely death, (she was hit and killed by a taxi in Paris after delivering a address to a ethnomusicology conference), she didn’t have the opportunity to strategize her works into a coherent academic whole and give closure to her otherwise exemplary career.

For further information contact Directors Gillan Blitch and Jenna Kloeppel 927 Paseo de Peralta, Santa Fe | Call: 505-954-5858 | Email: curator@santafeartauction.com 10

SANTA FE ART AUCTION

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Hardin-Velarde Santa Fe Art Auction is offering an expanding schedule of auctions for 2018 and beyond, including online-only events in addition to the annual Live Auction on November 10, 2018.

Among the broad selection of classic and contemporary New Mexico art always featured in the Santa Fe events is a very fine grouping of Pueblo artworks. Representing two generations of progressive female artistry in Santa Clara Pueblo, The Arrival of the Cloud People (pictured), and Corn Shucking Scene, by iconic mother/daughter artists Helen Hardin and Pablita Velarde serve as exemplary works from the artists’ respective oeuvres.

Stylistically, Arrival of the Cloud People is typical of Hardin’s later works, done in the decade prior to her 1984 death. The painting’s strikingly modern aesthetic reveals four figures set against a background of three Katsinas and numerous freefloating faces. These faces and figures overlap in translucent layers to form an interconnected group of spiritual beings united in prayer or song, as evidenced by their uniformly open mouths. Geometric motifs, recalling many centuries of Pueblo and Pre-Pueblo pottery design, decorate the figures themselves and comprise the foreshortened background space. Splatter technique, which Hardin learned and integrated into her artistic practice in the early 1960s, features prominently throughout the artwork. This technique was prized by both Hardin and Velarde, who used it along with her preferred medium of earth pigments to achieve a grainy, textured surface in many of her artworks.

to this Santa Fe Indian School-trained style is merely one of the ways in which she proved to be an early feminist figure in Native American 20th century art, regularly challenging notions of imposed artistic style and accepted gender roles in Pueblo art and society. Velarde was, alongside her mentor Geronima Montoya, one of the earliest female Pueblo artists to create easel paintings, and was insistent upon supporting herself and Hardin independently through her thriving artistic career after the dissolution of her marriage.

This historic set of artworks is rounded out by inclusion in the sale of Zia Bird by Geronima Montoya. These three paintings represent the ingenuity and originality inherent in the remarkable tradition of women artist in Pueblo communities.

Helen Hardin was praised during her lifetime as being a leader in the Native American art movement towards a modernist style. Whereas Velarde established herself as a major figure in the Studio Style, promoted by Santa Fe Indian School art teacher Dorothy Dunn, Hardin sought to align herself with the progressive Native art styles being taught at the time at the newly established Institute of American Indian Arts. Interestingly, though Velarde and Hardin are often discussed in terms of traditional versus modern, the two artists did share ideas, techniques, and subject matter frequently throughout the course of their overlapping careers.

Pablita Velarde’s Corn Shucking Scene showcases the type of intimate domestic scene common to her early (ca.

1940s) artworks. Four women and two men prepare corn for drying and storage, with each figure portrayed only partially using the flattened perspective that Velarde had been taught was an appropriate style for Pueblo easel painting, based on the decorative, stylized figures typically seen on Pueblo ceramics. Velarde’s refusal to adhere fully

Helen Hardin (1943-1984), The Arrival of the Cloud People, acrylic on board, 19 ½ x 15 inches, Estimate: $15,000-$20,000

For further information contact Directors Gillan Blitch and Jenna Kloeppel 927 Paseo de Peralta, Santa Fe | Call: 505-954-5858 | Email: curator@santafeartauction.com 11

PLAN YOUR EVENT AT GERALD PETERS GALLERY, SANTA FE OR PETERS PROJECTS Contact Elizabeth Hook, Special Events Coordinator, at (505) 954-5721 or ehook@gpgallery.com.

GERALD PETERS GALLERY, SANTA FE 1005 Paseo de Peralta, Santa Fe, NM 87501 Tel (505) 954-5700 gpgallery.com Hours: Monday – Saturday, 10am – 5pm

GERALD PETERS GALLERY, NEW YORK 24 East 78th Street, New York, NY 10075 Tel (212) 628-9760 gpgallery.com Hours: Monday – Friday, 10am – 5pm or by appointment

PETERS PROJECTS 1011 Paseo de Peralta, Santa Fe, NM 87501 Tel (505) 954–5800 petersprojects.com Hours: Monday – Saturday, 10am – 5pm or by appointment

SANTA FE ART AUCTION 927 Paseo de Peralta, Santa Fe, NM 87501 Tel (505) 954–5858 santafeartauction.com Hours: Monday – Friday, 10am – 5pm or by appointment

insight © 2018 Gerald Peters Gallery, Peters Projects, Santa Fe Art Auction. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or information storage or retrieval system, without permission in writing from the publisher. Published two or three times a year.