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ISSUE LEGACY

Hello,

Welcome to the Legacy Issue.

As summer fades and the days begin to cool, we find ourselves at the threshold of Autumn. As a season symbolized by change and transition, Autumn invites us to engage in a dance with nature, where the very air is imbued with the whispers of transformation and the promise of renewal. To the ladies of ARTful style, Autumn breathes the very essence of Legacy.

As we workshopped and reflected on this edition, we explored the meaning of “legacy” and what it means to intentionally shape a body of work that leaves something lasting behind. What does it look like to live with purpose? To model a vision that endures beyond the moment?

Within these pages, you’ll find glimpses of how legacy shows up, subtly and powerfully, beginning with the cover! We welcome collectors Dan and Jennifer Wegmiller – and three generations of their lovely family. If there were a stronger example of legacy, we wouldn’t know what it is. Meet them and read their story on Page 18. You can also partake of history in the making from the photo montage beginning on Page 12 with pics from the 2025 summer social hosted on July 28th that we plan to become a new tradition at the 2175 Gallery.

Finally, jump to the opposite page. Returning readers might expect to see the familiar faces welcoming you back: Carrie, Dana, Danielle, and Heather. In this issue, we’re still there, but now represented by classic Carrie pen and ink drawings. First, on the left is Dana, as Calamity Jane… the whirlwind… audaciously outspoken and tirelessly optimistic, stirring the collective ideas, a tempest with a purpose… Upper left is Danielle, as Josie Soul – clever, creative, ever-poised, and perfectly camera-ready, no matter the situation. Far right is Heather, as Rusty Hue, the calm and constant gardener who lovingly tends to the smallest details. And then, centered, there’s Carrie – Ruby Copper - the storyteller who weaves the magic that brings us – and you - together.

Legacy is both simple and profound. It’s about holding on and letting go at the same time. What lasting impact will our lives have on history? We value you and your place in our story. Welcome to this unfolding journey… to our shared legacy. Once again… let’s begin with the art.

“ Whether you have been with us from the start, or just joining now, you’re a part of our story ”

DESIGNLINE - MR. GREEN as shown custom crop 70" x 20" custom hand finished original DESIGNLINE — ©Carrie Fell

ABSTRACT

VOLUME II, ISSUE 2

ARTful style EDITORIAL

Editor in Chief CARRIE FELL

Creative Director & Design DANIELLE VONFELDT

Business Editor & Digital Coordinator DANA GIDDENS

Lifestyle Editor HEATHER CLANCY

Photographers DON EASTBURN BRIAN BIRLAUF EMILY TAKACS FRANK GARNICA PHOTOGRAPHY LLC

Industry Contributors DANIELLE VONFELDT, VonFeldt Design LLC, VonfeldtDesign.com

LAUREEN HOPKINS, Studio H by Laureen Hopkins, laureenhopkins.com

CHEF RICHARD BAILEY, TASTE 5 Catering, TASTE5Catering.com

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PUBLICATION PRINTERS CORP.

©Carrie Fell and Company, 2025. For permission to reproduce any article in this magazine, contact inqury@carriefell.com

Chief Executive Officer | CARRIE FELL Chief Operations Officer | DANA GIDDENS Chief

Officer | DANIELLE VONFELDT VP,

| HEATHER CLANCY

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“unwrap the magic...”

Timeless as the sound that came before...This is 959 RANCH, where yesterday still sings, and every note remembers... Find yourself in Carrie's West.

CARRIE FELL

Aspen Grove Fine Art, ASPEN; Courtney Collins Fine Art, BIG SKY; Galerie Züger, SANTA FE; Schoonover Gallery, STEAMBOAT SPRINGS

TEXAS HILL COUNTRY, Original Acrylic & Oil on Canvas with LED Lighting; 50” x 40”

LA UREEN HOPKINS S TUDIO

interior design

Laureen Hopkins | Alexis Wessell

Living an ARTful AUTUMN

rhythm of bandstands cheering grandstands football the game tailgates the pulse tradition the echos generations homecoming kings queens return to one another year after year season after season...aspens rustle golden-coins tremble on the edge of every branch before cutting winds carry them along the Peak to Peak scenic byway...crimson mums morning light slanting through high loft windows on wood floors casting long shadows across textured rugs... walks in the park on a crisp easy Sunday layering soft flannels worn denim wool socks favorite coat...geese sail solemn rhythm announcing mid-air of a seasons trade sketchbooks landscapes...permission for dense velvets and dusky leather ochre plummy wine fit the season fire pits Pendleton blankets sipping whiskey beneath seasonal reflections starlight harvest moons hunter’s moon companions to the turning... mist rising over the foothills like breath... butternut squash pumpkin bisque journal open fogged windows Jack Frost kisses pumpkins fleeting beauty... late mornings mountain trails brittle and bowed sunflowers corn stalks... farm stands arms full amber gourds antler sheds hot cider inspiration... curating home aromatic afternoons anchored in stillness... the wild the whispers ancient language all around... trails soften winding down red-rock cathedrals shaped by time wind...hush-hush silence scents wet leaves woodsmoke perfume of endings beginnings handwritten letters letting go... chilled air sweeping swirling choreographed poetry... the city slows softens artfully becomes quiet deeper rooted visible a sigh our breath hanging... city sidewalks paved in fallen color mirrors scattered messages like old letters forgotten beautiful necessary...fragrance lingers of roasted chilies late season corn earthy sharp smoky... early dusk elks cry like wild violins sky deepens palettes of caramel and auburn... creative imaginative celebrations of duality in between dark and light the seen the unseen delights disguises honoring spirits... charcoal mulberry orange and honey Jack-olanterns candied apples scarecrows hayrides purposeful strolls a trick a treat leaf-littered walkways rustles underfoot meditation solitude hands tucked woolen mittens warm pockets... markets heirloom apples bequest pears dried sage bundles fragrant eucalyptus wrapped in brown paper string...the studio slower color richer everything moving inward deeper... cashmere wrap first flakes fall suggestively not winter... a single branch evergreen set within oversized vessels window light no more no less just enough... Thanksgiving gatherings long tables fine things hands folded heads bowed stories passed remembrance... grateful not for hours not for objects glad for people rare radiant making time worth keeping...winds drift brushing down from high peaks curls and canyons whispering across the plains we remember we listen we arise. —CARRIE

summer social at 2175

The 2175 summer social hosted by cf&co celebrated fine art, fascinating people, and fabulous food and drinks! New collectors, old friends, and Colorado's own Felene Vodka - which debuted a limited release of its newest product, Pear Flavored Vodka, featuring Carrie Fell's art on the label - were on hand for the evening. The following pages offer just a glimpse of the wonderful time had by all at what is SURE to become an annual event!

Photos by: Emily Takacs, Don Eastburn Associates LLC

The Dialogue: Curating A Legacy

Christine Whaling Art Advisory

A.S.: Welcome back, Christine! We feel so fortunate to have you as a professional guide to offer insight to our collectors and readers!

C.W.: It's my pleasure! Thank you for the opportunity to continue to be involved! It's an honor. I LOVE ARTful style. Such a fabulous publication.

A.S.: Thank you! It’s a labor of love! Similarly, this issue we’re all about “legacy.” Legacy is simple, yet so complex. In your experience, what does it mean to curate or manage a “legacy” collection?

C.W.: The concept of art collecting as a legacy is certainly not new. Here in Denver, we are fortunate to benefit from generations of legacy collectors - those who have donated their works to notable institutions or made them accessible to the public through foundations and long-term loans. Their vision has enriched our cultural landscape and inspired countless others.

As collectors, we are temporary custodians of the works in our care. These pieces have histories - loved by previous owners, brought into the world by artists, and now part of our own stories. In turn, we become part of theirs.

A.S.: This is such a personal consideration for Carrie when she creates any piece. Each piece is its own story and will have its own journey. The works begin in her imagination, then take on a physical form, and eventually travel from studio to perhaps gallery to collector, where they are “home.” But more recently, we have been talking with wonderful collectors about what they want to happen to their passion for Carrie’s art as part of a bigger, or longer plan.

A.S.: Absolutely! Without the generosity of donors, so much art would never be available to the larger audience! But what of individuals who perhaps have privately amassed – or are beginning to acquire - larger collections? Do you advise on the bigger picture of a “legacy” even to those whose last names aren’t Rockefeller… or Wynn… or Getty?

C.W.: Every day. Often, collectors begin simply by acquiring what they love. But at some point, a larger question emerges: What comes next?

C.W.: I encourage people, when considering their collection, to ask themself: What would I like my legacy to be?

This is a deeply personal reflection. You may hope your children, friends, or beneficiaries will keep certain works to remember you by. Or perhaps you envision donating to an institution close to your heart. Whatever their wishes, I always encourage collectors to think about legacy with the same intention they bring to building their collections.

A.S.: This seems so counterintuitive, as you’re building a collection, you should be thinking about what will happen to it? Isn’t it safe to assume if I love it, my beneficiaries will love it?

C.W.: You can’t assume your heirs will have the interest, capacity, or ability to inherit and maintain your collection. Have the conversation. When there’s no plan in place, the recipient may not understand the significance of certain works or the meaningful story behind their acquisition. Proactive planning can transform what might otherwise be an unexpected obligation into a meaningful continuation of your vision.

Alternatively, legacy can also be passed on by returning works to the market. This allows your beneficiaries to receive financial benefit, while giving the piece a new life with someone else who will continue to love and appreciate the work just as you did.

A.S.: That’s a wonderful way to take some of the pressure off beneficiaries! They don’t have to love, or even necessarily want to keep the things you may have spent a lifetime collecting, but they can appreciate that those works or items can have a new ‘chapter’ in their own story.

C.W.: Ultimately, legacy isn’t just what we leave behind - it’s how we shape a collection along the journey. As you acquire new works, consider how they fit into the broader story you're telling through your collection.

now available at cf+home

A.S.: Well said. Even before your legacy is set, thinking about it and guiding it treats a collection like a member of the family – ensuring the next chapter. Engaging professionals to facilitate the valuation and discussion of legacy early on allows the enjoyment of those works to endure. Thank you as always for your incredibly insightful perspectives! Our collectors and readers are in good hands.

Building a LEGACY

Collectors Jennifer and Dan

Wegmiller vividly remember their first encounter with Carrie Fell. They fondly recall only being able to admire Carrie’s work displayed in Jen’s father’s home. As a young couple, long before they could afford “real art” (their words!), they wandered through galleries while working, living, raising a family … waiting to start their own collection. In a call with ARTful style, they shared a history of following Carrie’s work, admiring the paintings from afar, and the moment they acquired their first piece.

“My Dad has a big art collection and Carrie’s piece is the biggest one in his collection,” explained Jen. “Seeing those pieces still takes us back to early days of marriage when we couldn’t afford “real art” … we could only look at her work and dream of when we might be able to buy one ourselves,” added Dan. But, Jen and Dan knew they would collect Carrie’s art, themselves, one day – “it’s the contemporary portrayal of the West that drew us in. Carrie’s ‘new West’ speaks to us more than an ‘old West’ style… The bold colors express an energy… you can feel the motion; you can transport yourself into the scene. Carrie’s work feels so fluid, and there’s a sense of freedom – even her signature!”

With 20 pieces of Carrie’s work, you’ve been collecting for some time! Is there a particular time or experience with Carrie that especially comes to mind? “Oh, definitely!” says Jen. “I remember we were at a point in our lives that we were finally able to buy original works, and as soon as I saw it, I knew I wanted it - 'Forever Young.’ I had seen it in her gallery at Solaris in Vail, and I knew that was the one! But when we returned to get it, it wasn’t on display … they said it had been sold! I burst into tears and was so sad that it was gone… To my total surprise, Carrie came from the back of the gallery, carrying it and walking towards me. Dan and the boys bought it for me and had Carrie in on the surprise! It’s still my favorite piece…” That piece has an impressive provenance! It was actually created in 2006, then went on display for the

2013 CowgirlUp! show in March at the Desert Caballeros Western Museum in Wickenburg, AZ. It returned to Carrie’s Solaris gallery in 2013, where Carrie added the resin pour. When you and Dan saw it, it was meant to be!

What about you, Dan? A favorite among the many? “All of them spark a memory from initially seeing it and deciding to add it to our collection, but probably ‘Whole Lotta Bull,’ our first original piece. But the boys can’t decide. They like all of them!”

Speaking of your sons – Joey and Jackson – and newest family member, daughter-in-law, Avarie. How do they impact or affect your choices? Do you acquire art as an investment for their future? “We definitely do not acquire art primarily as an 'investment,’ explained Dan. Honestly, we don’t think about the long-term value of the art when we buy new pieces – we collect for the joy of it. The added benefit is that we know it’s gaining value over the years, but as we move between our three homes,

JOEY WEGMILLER, JIM LINDSEY, DAN WEGMILLER & JACKSON WEGMILLER

DAN & JENNIFER WEGMILLER

“ ...walking into one house to the next, Carrie‛s art is always there welcoming us home.”

with Carrie’s art in each of them, the ‘return on investment’ for now is walking into one house to the next, and the art is always there to welcome you home. That’s what matters and what we want our sons to learn from our love of art and collecting.”

Having visited many galleries across the country, they understand that they won’t always find something that interests them, but they quickly pick up pieces when they come across ones that move them. Following Carrie’s work has led to expanding their art collection to include paintings by other celebrated artists such as Devon, Earl Biss, and James Jensen, as well as sculptures by Gib Singleton. They also have two Peter Max pieces, which are similar in bold style to Carrie’s work.

“There’s something for us as collectors where we can look at a room with a mixture of artists and works, it’s almost like being at a wine tasting and learning about how it’s created and becoming interested in other artists,” said Jennifer. “Friends of ours have told us that we have had a huge impact on their collecting, because they’re learning about the art as they go.”

Art not only enhances their surroundings; their love of art influences the design of their homes! “When we design, build, or remodel, it’s all about the art – how to maximize displays and even create more walls for art so that it always remains a central feature. We actually redesigned an entry to look like a gallery when you walk in. But then,

when we moved works around and people couldn’t see it from the entry, they thought the art had been removed! Neighbors actually commented on not being able to see the pieces as they walked past the house, and some suggested that the way it was displayed before was so perfect. That’s when you know you’re doing something right.”

Recently, Dan and Jennifer have started thinking about their art and love the idea of planning their collection to pass on to their sons. Each piece reflects the couple’s identity at different stages of their lives and journey. As they encourage their sons, they also suggest to new collectors that they should understand that art equals JOY and EMOTION. But they recognize it can be intimidating. They agreed that you have to JUMP! “Get out of the poster shop and buy something original – and you’ll be hooked. It doesn’t have to be expensive! Wherever you go, make a point to wander around and look at art… in museums, galleries, and studios. Always wonder if something will catch your attention. Just start looking! Pop into galleries wherever you are –discover new artists… learn their stories. Sort of ‘like stop and smell the roses’ – get involved!”

As our discussion wrapped up, we had one last question: what motivates you to expand your collection and maintain your relationship with Carrie? Jen chimed in, “Carrie is so engaging and so easy to work with and talk to – going all the way back to visiting her Parker home for the Cowboy Ball, seeing the studio, visiting her space, as well as reading about ‘Ruby.’ We feel connected to Carrie through the stories she shares and how she conveys them in her writing and her art. She has been such a huge part of our life’s story, both in person and through her art.” Well, we can’t wait to see what the next chapter holds…

BusinessART of

Evolutions of Collecting

Elaine Wynn’s art collection, which Forbes estimated to be worth around $375 million before her death earlier this year, is full of big names – including a 1969 Francis Bacon triptych (recently donated to the Los Angeles County Museum of Art - LACMA), Manet’s “Portrait of Mademoiselle Suzette Lemaire,” and Freud’s “The Painter Surprised By A Naked Admirer” – but also features lesser-known works like a set of paintings Wynn acquired in Cuba for less than $10,000. So, what is the point of Elaine Wynn’s collection? While her earliest acquisitions were likely through galleries and thus the numbers are not necessarily well-known, what is a lesson for the rest of us is her passion and her vision of collecting works that inspired her more than the price might have indicated.

Which brings us to the topic of which art you choose to buy along your own journey, and the vision we hope you have for it beyond its acquisition. Carrie Fell is likely best known for three things: her bold use of color, her impressionist portrayal of traditional Western subjects, and her large scale. Original works command prices into the many thousands of dollars and grace some of the most prestigious galleries, corporate collections, celebrated museums, and elegant homes worldwide. What is less known about Carrie is her passion for making art accessible to many levels of buyers and treating every work that leaves the studio as if it were the very cornerstone of a collection.

Thus, we offer a lesson in access. In our cf&co parlance, original sits atop the chart. These are works that have been created from Carrie’s imagination and expression of subjects she loves, is intrigued by, or wants to use for larger artistic purposes. The images are conveyed onto a blank canvas by hand, then paint is poured and moved, layer by layer, and then oil paints are used to add her signature finishing flourishes. Galleries will typically only display originals, and private commissions are always original. As you might expect, these works command the highest price. Many of our collectors began with the same love of Carrie’s work, but at a place where the acquisition prospect wasn’t so intimidating: Editions.

Beginning in 2004, Carrie sought to broaden her market and thus started offering Artist Enhanced Limited Editions. These are from some of her most iconic and recognizable

pieces as pigment impressions on canvas… with a twist. Carrie finishes these highly coveted works personally, thereby imbuing each with the uniqueness of the artist’s hand. While the images begin as the highest resolution replication, once in the studio, they are hand-stretched onto the same custom-milled poplar hardwood bars as originals. Carrie then applies acrylic enhancements to each and signs them. While not “original” they are entirely distinct, offering Carrie’s canvas work at a more accessible price point.

Finally, 'carrie' by Carrie Fell is the newest addition to the product line, available starting this Fall (see Page 7!). Signature Exclusive Reproductions are printed on museum-quality paper in ultra-high definition, each personally signed by Carrie. Available framed or unframed, these pieces are ideal for art enthusiasts who are beginning to explore incorporating Carrie’s distinctive style into their spaces. They offer a beautiful way to enjoy her work in a more accessible format, delivering the same visual impact and creative energy, while allowing collectors to engage with art in a way that feels right for them.

Collecting can and should be an evolution - not only in the subject matter and variety of works you may collect, but also unbound by price constraints. If creating a collection is reserved only for those with Elaine Wynns’s resources, then art would be limited to very few. Collecting art should be a lifelong passion… no matter where you start.

GlitterBall

Holiday Open House

Exhibition of Curated, Hand-blown, Glass Ornament Embellished by Carrie Fell

SAVE THE DATE

Thursday December 11

Please mark your calendars… more details to follow.

The Art of Exchangefresh thoughts...

In many ways, the relationship between me and the collector is one of quiet intimacy, and it is an exchange that goes beyond the transactional. It is a mutual recognition of something ineffable, a shared sensitivity to recollection and beauty. When collectors choose my artwork, they also embrace the spirit, story, and soul behind the creation. This is the moment when they welcome a presence into their space, something that speaks to their inner self in a language that words rarely reach. Over time, these bonds can go beyond the traditional roles of “artist” and “patron,” evolving into genuine friendships and, in some cases, relationships that feel like family.

For me, there is something sacred in this gesture. Witnessing my work on its own journey—to find its way into someone’s home… to become part of their daily landscape… to hang beside other personal possessions or other art they have collected on their crossings—is both humbling and profound. It is a silent acknowledgement that what once existed only in the realm of my imagination has now found its way into the world and continues its voyage in someone else’s story.

After a while, these encounters become relationships, marked by correspondence, studio and gallery visits, private conversations, or quiet moments standing before their canvas together. A bond forms, not just around the artwork, but around the stories shared, the trust built, the mutual awe for what art can do. Some collectors become confidantes. Mentors. Family. They become part of my path and my narrative, just as I hope to be a part of theirs.

But perhaps most extraordinary - the way the relationships ripple outward when a painting is passed down or garners appreciation within the family, becoming a bridge between generations. Through these deep connections, I not only witness the impact of my work in the present but also feel its echo in the lives that follow.

Art becomes a living legacy, bridging generations and anchoring an enduring story of human experience. The deepest reward of a life in art is not fame…not fortune… but connection. Human. Lasting. Real. This is truly the art of exchange. .

– CARRIE